motives, as a poet, to determine him to the choice of his subject, from its being, in itself, both great and pleasing; from its being suited to his genius, and its being attended with the peculiar advantages, which I mentioned above, for the full display of poetical tal ents. Unity of action is perfectly preserved; as, from beginning to end, one main object is always kept in view, the settlement of Eneas in Italy, by the order of the gods. As the story comprehends the transactions of several years, part of the transactions are very properly thrown into a recital made by the hero. The episodes are linked with sufficient connexion to the main subject; and the nodus, or intrigue of the poem, is, according to the plan of ancient machinery, happily formed. The wrath of Juno, who opposes herself to the Trojan settlement in Italy, gives rise to all the difficulties which obstruct Eneas's undertaking, and connects the human with the celestial operations, throughout the whole work. Hence arise the tempest which throws Eneas upon the shore of Africa; the passion of Dido, who endeavours to detain him at Carthage; and the efforts of Turnus, who opposes him in war. Till, at last, upon a composition made with Jupiter, that the Trojan name shall be for ever sunk in the Latin, Juno foregoes her resentment, and the hero becomes victorious. In these main points, Virgil has conducted his work with great propriety, and shown his art and judgment. But the admiration due to so eminent a poet, must not prevent us from remarking some other particulars in which he has failed. First, there are scarce any characters marked in the Æneid. In this respect it is insipid, when compared to the Iliad, which is full of characters and life. Achates, and Cloanthus, and Gyas, and the rest of the Trojan heroes, who accompanied Æneas into Italy, are so many undistinguished figures, who are in no way made known to us, either by any sentiments which they utter, or any memorable exploits which they perform. Even Æneas himself is not a very interesting hero. He is described, indeed, as pious and brave; but his character is not marked with any of those strokes that touch the heart; it is a sort of cold and tame character; and throughout his behaviour to Dido, in the fourth book, especially in the speech which he makes after she suspected his intention of leaving her, there appears a certain hardness and want of relenting, which is far from rendering him amiable.* Dido's own character is by much the best supported in the whole Æneid. The warmth of her passions, the keenness of her indignation and resentment, and the violence of her whole character, exhibit a figure greatly more animated than any other which Virgil has drawn. Besides this defect of character in the Eneid, the distribution and management of the subject are, in some respects, exceptionable. The Æneid, it is true, must be considered with the indul * Num fletu ingemuit nostro? num lumina flexit? Num lacrymas victus dedit, aut miseratus amantem est ? Æn. iv. 36). gence due to a work not thoroughly completed. The six last books are said not to have received the finishing hand of the author; and for this reason, he ordered, by his will, the Eneid to be committed to the flames. But though this may account for incorrectness of execution, it does not apologize for a falling off in the subject, which seems to take place in the latter part of the work. The wars with the Latins are inferior, in point of dignity, to the more interesting objects which had before been presented to us in the destruction of Troy, the intrigue with Dido, and the descent into hell. And in those Italian wars, there is, perhaps, a more material fault still, in the conduct of the story. The reader, as Voltaire has observed, is tempted to take part with Turnus against Eneas. Turnus, a brave young prince, in love with Lavinia, his near relation, is destined for her by general consent, and highly favoured by her mother. Lavinia herself discovers no reluctance to the match: when there arrives a stranger, a fugitive from a distant region, who had never seen her, and who, founding a claim to an establishment in Italy upon oracles and prophecies, embroils the country in war, kills the lover of Lavinia, and proves the occasion of her mother's death. Such a plan is not fortunately laid for disposing us to be favourable to the hero of the poem; and the defect might have been easily remedied, by the poet's making Eneas, instead of distressing Lavinia, deliver her from the persecution of some rival who was odious to her, and to the whole country. But notwithstanding these defects, which it was necessary to remark, Virgil possesses beauties which have justly drawn the admiration of ages, and which, to this day, hold the balance in equilibrium between his fame and that of Homer. The principal and distinguishing excellency of Virgil, and which, in my opinion, he possesses beyond all poets, is tenderness. Nature had endowed him with exquisite sensibility; he felt every affecting circumstance in the scenes he describes; and, by a single stroke, he knows how to reach the heart. This, in an epic poem, is the merit next to sublimity; and puts it in an author's power to render his composition extremely interesting to all readers. The chief beauty of this kind in the Iliad, is, the interview of Hector with Andromache. But in the Eneid, there are many such. The second book is one of the greatest masterpieces that ever was executed by any hand; and Virgil seems to have put forth there the whole strength of his genius, as the subject afforded a variety of scenes, both of the awful and tender kind. The images of horror, presented by a city burnt and sacked in the night, are finely mixed with pathetic and affecting incidents. Nothing, in any poet, is more beautifully described than the death of old Priam; and the family-pieces of Æneas, Anchises, and Creusa, are as tender as can be conceived. In many passages of the Æneid, the same pathetic spirit shines; and they have been always the favourite passages in that work. The fourth book, for instance, relating the unhappy passion and death of Dido, has been always most justly admired, and abounds with beauties of the highest kind. The interview of Eneas with Andromache and Helenus, in the third book; the episodes of Pallas and Evander, of Nisus and Euryalus, of Lausus and Mezentius, in the Italian wars, are all striking instances of the poet's power of raising the tender emotions. For we must observe, that though the Eneid be an unequal poem, and, in some places, languid, yet there are beauties scattered through it all; and not a few, even in the last six books. The best and most finished books, upon the whole, are, the first, the second, the fourth, the sixth, the seventh, the eighth, and the twelfth. Virgil's battles are far inferior to Homer's, in point of fire and sublimity; but there is one important episode, the descent into hell, in which he has outdone Homer in the Odyssey, by many degrees. There is nothing in all antiquity equal, in its kind, to the sixth book of the Æneid. The scenery, and the objects, are great and striking; and fill the mind with that solemn awe, which was to be expected from a view of the invisible world. There runs through the whole description a certain philosophical sublime; which Virgil's Platonic genius, and the enlarged ideas of the Augustan age, enabled him to support with a degree of majesty, far beyond what the rude ideas of Homer's age suffered him to attain. With regard to the sweetness and beauty of Virgil's numbers, throughout his whole works, they are so well known, that it were needless to enlarge in the praise of them. Upon the whole, as to the comparative merit of these two great inces of epic poetry, Homer and Virgil; the former must, undoubtedly, be admitted to be the greater genius; the latter, to be the more correct writer. Homer was an original in his art, and discovers both the beauties and the defects which are to be expected in an original author, compared with those who succeed him; more boldness, more nature and ease, more sublimity and force; but greater irregularities and negligences in composition. Virgil has, all along, kept his eye upon Homer; in many places, he has not so much imitated, as he has literally translated him. The description of the storm, for instance, in the first Æneid, and Æneas's speech upon that occasion, are translations from the fifth book of the Odyssey; not to mention almost all the similes of Virgil, which are no other than copies of those of Homer. The pre-eminence in invention, therefore, must, beyond doubt, be ascribed to Homer. As to the preeminence in judgment, though many critics are disposed to give it to Virgil, yet, in my opinion, it hangs doubtful. In Homer, we discern all the Greek vivacity; in Virgil, all the Roman stateliness. Homer's imagination is by much the most rich and copious; Virgil's, the most chaste and correct. The strength of the former lies in his power of warming the fancy; that of the latter, in his power of touching the heart. Homer's style is more simple and animated; Virgil's more elegant and uniform. The first has, on many occasions, a sublimity to which the latter never attains; but the latter, in return, never sinks below a certain degree of epic dignity, which cannot so clearly be pronounced of the former. Not, however, to detract from the admiration due to both these great poets, most of Homer's de fects may reasonably be imputed, not to his genius, but to the manners of the age in which he lived; and for the feeble passages of the Eneid, this excuse ought to be admitted, that the Eneid was left an unfinished work. QUESTIONS. WHY does the epic poem merit par-sage from the book of Genesis, illustraticular discussion? Having treated of tive of this remark. Of this style, what the nature of this composition, and of is observed? It is copying from what; the principal rules relating to it, to and what is it giving? In progress of what does our author proceed? Who time, what was thought more elegant? claims our first attention; and why? What are the advantages, and also the What must, whoever sits down to disadvantages, of the ancient dramatic read Homer, consider? Why should he method which Homer practised? Of make this reflection? For what is he his speeches, however, what is farther not to look; and of what must he di- observed; and to them, what do we vest himself? What is he to expect; owe? How is this illustrated? Of the and what must he reckon upon finding? extent to which he has pursued the sinWhat does the opening of the Iliad gle virtue of courage, what is remarknot possess? Upon what does it turn? ed? How is this remark illustrated, in Repeat the basis of the whole action of the manner in which the character of the Iliad, as illustrative of this remark. Helen is painted? What presents her Hence, rise what? What ought not to to us with much dignity? What exbe a matter of surprise; and why not? hibit the most striking features of that How do they discover human nature? mixed female character, which we To what do they give free scope; and partly condemn, and partly pity? Howhat do they show us? From this state mer never introduces her without of manners, together with its attending what; and, at the same time, about circumstances, for what have we what is he careful? How is Paris himground to look? And accordingly, self characterized? Repeat his partiwhat are the two great characters of cular characteristics. For what has Homeric poetry? Under what three Homer been blamed? But to what heads do we now proceed to make some opinion is our author inclined? What more particular observations on the are Achilles' peculiar characteristics? Iliad? Why must the subject of the Under the head of characters, what Iliad be admitted to be a happy one? come under consideration; and of them, Upon what traditions did Homer ground what is observed? Concerning mahis poem; and what remark follows? chinery in general, and concerning What part of the Trojan war did Ho- Homer's machinery in particular, what mer select as his subject? From this is remarked? What did he follow? management, what advantage did he How is this illustrate l? In the hands derive? What has he gained; and of Homer, what is its effect; and of it, what shown? At the same time, what what remarks follow? Of Homer's must be admitted; and why? What, gods, what must be confessed? What in all ages, has, with the greatest rea- illustration of this remark follows? In son, been given to Homer? How is apology, however, for Homer, what this illustrated? But the praise of what, must be remarked? How is this reis also equally his due? How is this, mark illustrated? At the same time, also, illustrated? In what does Homer how does he frequently make them apstand without a rival? To what is his pear; and what instances are menlively and spirited exhibition of charac- tioned? With regard to Homer's style ters owing? What remark follows? and manner of writing, what is reWhat Virgil informs us by two words marked? By whom only will it be adof narration, Homer brings about by mired; and why? Who can have no what? What may we here observe; conception of his manner? Of that and in what books have we a clear translation, what character is given? proof of this remark? Repeat the pas- Why is it so difficult to do justice to Homer, in a translation? Of his versi- | What was the effect of the wrath of fication, what is observed? Juno; and hence, arise what? In these How is Homer in narration? By main points, how has Virgil conducted means of what, is he every where de- his work; and what has he shown? scriptive? How is he contrasted in this But the admiration due to so eminent respect with Virgil? Whenever he a poet, must not prevent what? What seeks to draw our attention to any par- is the first; and in this respect, how does ticular object, what does he do? What it compare with the Iliad? Of the comform the most natural and affecting panions of Eneas, what is observed? picture that can possibly be imagined? What is said even of Æneas himself? In what does Homer particularly ex- Which is the best supported character cel? What does he do; and here, how in the book; and how is this illustradoes he compare with other poets? ted? Besides this defect of character, With regard to his similes, what is re- what else are, in some respects, excepmarked? Of his beautiful similes, what tionable? With what indulgence must instances are given? Of what, howev- the Eneid be considered; and why? er, is our author not of opinion; and For this reason, what did he, by his why are they not? Upon what has our will, order? But though this may acauthor's observations, hitherto, been count for incorrectness of execution, for made; and of what is it necessary, also, what does it not apologize? How is to take some notice? What is the criti- this remark illustrated? For what is cism of Longinus on this poem? What such a plan unfortunate; and how does it want; yet, at the same time, might the defect have been easily rewhat does it possess? What do we medied? But notwithstanding these every where see? From what does it defects, what does Virgil possess? descend; but, in recompense for this, What is his distinguishing excellency? what have we? Instead of that feroci- With what had nature endowed him; ty which reigns in the Iliad, with what and what was the consequence? Of does the Odyssey present us? At the this merit, in an epic poem, what is obsame time, what are the defects of the served? What is the chief beauty of Odyssey? After having said so much this kind in the Iliad? Of the second of the father of epic poetry, to whom book of the Æneid, what is observed? do we proceed; and of him, what is What instances are mentioned? How observed? How does he differ from Ho-have such passages in the Æneid almer? When we begin to read the ways been regarded? Of the death of Iliad, where do we find ourselves? When we open the Eneid, what do we discover? With what do we not meet? How does the poem open; and with what? Why is the subject of the Eneid considered extremely happy? Of the object, what is observed; and what theme did it give the poet? What did it allow him; and what, also, afford him? To what does the establishment of Æneas, constantly traversed by Juno, lead; and what does it furnish? Upon the whole, what does our author believe? For what opinion does he see no foundation? What does Virgil, like every other poet of that age, do; but what appears no more than a fanciful refinement? What motives, as a poet, had he to determine him in the choice of his subject? How is the unity Homer-Introductory remarks. of the action perfectly preserved? Why are part of the transactions very propery thrown into a recital made by the hero? Of the episodes, and of the intrigue of the poem, what is observed? Dido, in the fourth book, what is observed? What farther instances of the poet's power of raising the tender emotions, are given? For we must observe what? What are the best and most finished books of the Eneid? Though Virgil's battles are inferior to Homer's, yet in what has he excelled him by many degrees? What are the peculiar excellences of the sixth book of the Eneid? With regard to the sweetness and beauty of Virgil's numbers, what is observed? Upon the whole, as to the comparative merit of these two princes of epic poetry, Homer and Virgil, with what remarks does our author close? 1. The Iliad. ANALYSIS. A. The basis of the action. B. The subject happily chosen. D. His characters. a. The dramatic method considered. |