Epistle to a Friend Concerning Poetry (1700) and the Essay on Heroic Poetry (second edition, 1697) | Page 2

ironic compliments of Defoe, who recalled that our "Mighty
Champion of this very High-Church Cause" had once written a poem to
satirize frenzied Tories (Review, II, no. 87, Sept. 22, 1705). About a
week later Defoe, having got wind of a collection being taken up for
Wesley--who in consequence of a series of misfortunes was badly in
debt--intimated that High-Church pamphleteering had turned out very
profitably for both Lesley and Wesley (Oct. 2, 1705). But in such
snarling and bickering Wesley was out of his element, and he seems to
have avoided future quarrels.
His literary criticism is small in bulk. But though it is neither brilliant
nor well written (Wesley apparently composed at a break-neck clip), it
is not without interest. Pope observed in 1730 that he was a "learned"
man (letter to Swift, in Works, ed. Elwin-Courthope, VII, 184). The
observation was correct, but it should be added that Wesley matured at
the end of an age famous for its great learning, an age whose most
distinguished poet was so much the scholar that he appeared more the
pedant than the gentleman to critics of the succeeding era; Wesley was
not singular for erudition among his seventeenth-century
contemporaries.
The "Essay on Heroic Poetry," serving as Preface to The Life of Our
Blessed Lord and Saviour, reveals something of its author's erudition.
Among the critics, he was familiar with Aristotle, Horace, Longinus,
Dionysius of Halicarnasseus, Heinsius, Bochart, Balzac, Rapin, Le
Bossu, and Boileau. But this barely hints at the extent of his learning.
In the notes on the poem itself the author displays an interest in
classical scholarship, Biblical commentary, ecclesiastical history,
scientific inquiry, linguistics and philology, British antiquities, and
research into the history, customs, architecture, and geography of the
Holy Land; he shows, an intimate acquaintance with Grotius, Henry
Hammond, Joseph Mede, Spanheim, Sherlock, Lightfoot, and Gregory,
with Philo, Josephus, Fuller, Walker, Camden, and Kircher; and he
shows an equal readiness to draw upon Cudworth's True Intellectual
System and Boyle's new theories concerning the nature of light. In view

of such a breadth of knowledge it is somewhat surprising to find him
quoting as extensively as he does in the "Essay" from Le Bossu and
Rapin, and apparently leaning heavily upon them.
The "Essay" was composed at a time when the prestige of Rymer and
neo-Aristotelianism in England was already declining, and though
Wesley expressed some admiration for Rapin and Le Bossu, he is by no
means docile under their authority. Whatever the weight of authority,
he says, "I see no cause why Poetry should not be brought to the Test
[of reason], as well as Divinity...." As to the sacred example of Homer,
who based his great epic on mythology, Wesley remarks, "But this
[mythology] being now antiquated, I cannot think we are oblig'd
superstitiously to follow his Example, any more than to make Horses
speak, as he does that of Achilles." To the question of the formidable
Boileau, "What Pleasure can it be to hear the howlings of repining
Lucifer?" our critic responds flippantly, "I think 'tis easier to answer
than to find out what shew of Reason he had for asking it, or why
Lucifer mayn't howl as pleasantly as either Cerberus, or Enceladus."
Without hesitation or apology he takes issue with Rapin's conception of
Decorum in the epic. But Wesley is empiricist as well as rationalist,
and the judgment of authority can be upset by appeal to the court of
experience. To Balzac's suggestion that, to avoid difficult and local
proper names in poetry, generalized terms be used, such as _Ill-luck_
for the Fates and the Foul Fiend for Lucifer, our critic replies with
jaunty irony, "... and whether this wou'd not sound extreamly Heroical,
I leave any Man to judge," and thus he dismisses the matter. Similarly,
when Rapin objects to Tasso's mingling of lyric softness in the majesty
of the epic, Wesley points out sharply that no man of taste will part
with the fine scenes of tender love in Tasso, Dryden, Ovid, Ariosto, and
Spenser "for the sake of a fancied Regularity." He had set out to defend
the Biblical epic, the Christian epic, and the propriety of Christian
machines in epic, and no rules or authority could deter him. As good an
example as any of his independence of mind can be seen in a note on
Bk. I, apropos of the poet's use of obsolete words (Life of Our Blessed
Lord, 1697, p. 27): it may be in vicious imitation of Milton and Spenser,
he says in effect, but I have a fondness for old words, they please my
ear, and that is all the reason I can give for employing them.

Wesley's resistance to a strict application of authority and the rules
grew partly out of the rationalistic and empirical