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Many characters enliven the poem; and these diftinctly marked and well fupported. Godfrey, the leader of the enterprise, is prudent, moderate, and brave; Tancred amorous, generous, and gallant. Ri naldo, who is properly the hero of the poem, is paffionate and refentful; but full of zeal, honor, and heroism. Solyman is highminded; Erminia tender; Armida artful and violent, and Clorinda mafculine. In drawing characters Taffo is fuperior to Virgil, and yields to no poet, but Homer.

He abounds in machinery. When celeftial beings interpofe, his machinery is noble. But devils, enchanters, and conjurers act too great a part throughout his poem. In general the marvellous is carried to extravagance. The poet was too great an admirer of the romantic fpirit of knight errantry.

In defcribing magnificent objects his ftyle is firm and majestic. In gay and pleafing defcription it is foft and infinuating. Erminia's pastoral retreat in the feventh book, and the arts and beauty of Armida in the fourth book, are exquifitely beautiful. His battles are animated, and properly varied by incidents. It is rather by actions, characters, and descriptions, that he interests us, than by the sentimental part of his work. He is far inferior to Virgil in tenderness; and, when he aims at being fentimental and pathetic, he is apt to become. artificial.

It has often been objected to Taffo, that he abounds in point and conceit; but this cenfure has been carried too far. For in his general character he is mafculine and ftrong. The humor of decrying him paffed from the French critics, to thofe of England. But their ftrictures are founded either in ignorance or prejudice. For the Jerufalem is in my opinion the third regular epic poem in the world; and stands next to the Iliad and Æneid. In fimplicity and fire. Taffo is inferior to Homer; in tenderness to Virgil; in fublimity to Milton; but for fertility of invention, variety of incidents, expreffion of characters, richness of defcription, and beauty of ftyle,. no poet, except the three juft named, can be compared to him..

THE LUSIAD OF CAMOENS.

THE Portuguese boast of Camoens, as the Ital

ians do of Taffo. The difcovery of the Eaft Indies by Vafco de Gama, an enterprife alike fplendid and interefting, is the fubject of the poem of Camoens. The adventures, diftreffes, and actions of Vafco and his countrymen, are well fancied and defcribed; and the Lufiad is conducted on the epic plan. The incidents of the poem are magnificent; and, joined with fome wildness and irregularity, there is displayed in it much poetic fpirit, ftrong fancy, and bold defcription. In

the poem however there is no attempt toward painting characters. Vafco is the hero, and the only perfonage, that makes any figure.

The machinery of the Lufiad is perfectly extravagant; being formed of an odd mixture of Christian ideas and Pagan mythology. Pagan divinities appear to be the deities; and Chrift and the Holy Virgin to be inferior agents. One great object however of the Portuguese expedition is to extend the empire of Christianity, and to extirpate Mahometanifm. In this religious undertaking the chief protector of the Portuguese is Venus, and their great adversary is Bacchus. Jupiter is introduced, as foretelling the downfal of Mahomet. Vafco during a storm implores the aid of Christ and the Virgin; and in return to this prayer Venus appears, and, discovering the ftorm to be the work of Bacchus, complains to Jupiter, and procures the winds to be calmed. All this is moft prepofterous; but toward the end of his work the poet offers an awkward apology for his mythology; making the goddess Thetis inform Vafco that the and the other heathen divinities are no more, than names to describe the operations of Providence.

In the Lufiad however there is fome fine machinery of a different kind. The appearance of the genius of the river Ganges in a dream to Emanuel, king of Portugal, inviting him to discover his fecret fprings, and acquainting him, that he was the monarch, destin

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ed to enjoy the treasures of the East, is a happy idea. But in the fifth canto the poet displays his nobleft conception of this fort, where Vasco recounts to the king of Melinda all the wonders of his voyage. He tells him that, when the fleet arrived at the Cape of Good Hope, which never had been doubled before by any navigator, there appeared to them fuddenly a huge phantom, rifing out of the fea in the midst of tempeft and thunder, with a head, that reached the clouds, and a countenance, that filled them with terror. This was the genius of that hitherto unknown ocean; and he menaced them in a voice of thunder for invading those unknown feas; foretelling the calamities, that were to befal them, if they fhould proceed; and then with a mighty noise disappeared. This is a very folemn and ftriking piece of machinery; and fhows that Camoens was a poet of a bold and lofty imagination.

THE TELEMACHUS OF FENELON.

IT would be unpardonable in a review of epic poets

to forget the amiable Fenelon. His work, though in profe, is a poem; and the plan in general is well contrived, having epic grandeur and unity of action. He employs the antient mythology; and excels in applica tion of it. There is great richness as well, as beauty, in his defcriptions. To foft and calm fcenes his genius

is more peculiarly fuited; fuch, as the incidents of pastoral life, the pleasures of virtue, or a country flourishing in peace.

"His first books are eminently excellent. The adventures of Calypfo are the chief beauty of his work. Vivacity and intereft join in the narration. In the books, which follow, there is lefs happinefs in the execution, and an apparent languor. The author in warlike adventures is most unfortunate.

Some critics have refufed to rank this work among epic poems. Their objection arifes from the minute details it exhibits of virtuous policy, and from the difcourfes of Mentor, which recur too frequently, and too much in the ftrain of commonplace morality. thefe peculiarities however the author was led by the defign, with which he wrote, that of forming a young prince to the cares and duties of a virtuous monarch.

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Several epic poets have defcribed a descent into hell; and in the profpects, they have given us of the invisible world, we may obferve the gradual refinement in the opinions of men concerning a future ftate of rewards and punishments. Homer's defcent of Ulyffes into hell is indiftinct and dreary. The fcene is in the country of the Cimmerians, which is always covered with clouds and darkness; and, when the fpirits of the dead appear, we hardly know whether Ulyffes is above or below ground. The ghosts too, even of the heroes, appear diffatisfied with their condition.

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