refine

In Virgil the descent into hell discovers great ment, correfponding to the progrefs of philofophy. The objects are more distinct, grand, and awful. There is a fine description of the separate manfions of good and bad fpirits. Fenelon's vifit of Telemachus to the fhades is ftill much more philofophical than Virgil's. He refines the antient mythology by his knowledge of the true religion, and adorns it with that beautiful enthufiafm, for which he is so remarkable. His relation of the happiness of the just is an excellent description in the mystic strain.

THE HENRIADE OF VOLTAIRE.

THE Henriade is without doubt a regular epic

poem. In feveral places of this work Voltaire discov ers that boldness of conception, that vivacity and livelinefs of expreffion, by which he is fo much distinguished. Several of his comparisons are new and happy. But the Henriade is not his masterpiece. In the tragic line he has certainly been more fuccefsful, than in the epic. French verfification is illy fuited to epic poetry. It is not only fettered by rhyme, but wants elevation. Hence not only feebleness, but fometimes profaic flatnefs in the ftyle. The poem confequently languishes ; and the reader is not animated by that spirit, which is inspired by a fublime compofition of the epic kind.

The triumph of Henry IV. over the arms of the League is the fubject of the Henriade. The action of the poem properly includes only the fiege of Paris. It Is an action perfectly epic; and conducted with due re gard to unity, and to the rules of critics. But it has great defects. It is founded on civil wars; and prefents to the mind those odious objects, massacres and affaffinations. It is alfo of too recent date, and too much within the bounds of well known hiftory. The author has farther erred by mixing fiction with truth. The poem, for instance, opens with a voyage of Henry's to England, and an interview between him and Queen Elizabeth; though Henry never faw England, nor ever converfed with Elizabeth. In fubjects of such notoriety a fiction of this kind fhocks every intelligent reader.

A great deal of machinery is employed by Voltaire for the purpose of embellishing his poem. But it is of the worst kind, that of allegorical beings. Difcord, Cunning, and Love appear, as perfonages, and mix with human actors. This is contrary to all rational criticism. Ghofts, angels, and devils have a popular existence; but every one knows that allegorical beings are no more, than reprefentations of human paffions and difpofitions; and ought not to have place, as actors, in a poem, which relates to human transactions.

In justice however it must be observed, that the machinery of St. Louis poffeffes real dignity. The prof

pect of the invifible world, which St. Louis gives to Henry in a dream, is the finest paffage in the Henriadë. Death bringing the fouls of the departed in fucceffion before God, and the palace of the Destinies opened to Henry, are ftriking and magnificent objects.

Though fome of Voltaire's episodes are properly extended, his narration is too general. The events are fuperficially related, and too much crowded. The ftrain of fentiment however, which pervades the Hen riade, is high and noble.

MILTON'S PARADISE LOST.

MILTON

ILTON chalked out a new and very extraordinary course. As foon, as we open his Paradise Loft, we are introduced into an invisible world, and surrounded by celestial and infernal beings. Angels and devils are not his machinery, but his principal actors. What in any other work would be the marvelous, is in this the natural courfe of events; and doubts may arife, whether his poem be strictly an epic compofition. But, whether it be fo or not, it is certainly one of the highest efforts of poetical genius; and in one great characteristic of epic poetry, majesty and fublimity, is equal to any, that bears this name.

The fubject of his poem led Milton upon difficult ground. If it had been more human and lefs theologi

From a few hints, given

cal; if his occurrences had been more connected with real life; if he had afforded a greater display of the characters and paffions of men; his poem would have been more pleafing to moft readers. His fubject however was peculiarly fuited to the daring fublimity of his genius. As he alone was fitted for it; fo he has fhown in the conduct of it a wonderful stretch of imagination and invention. in the facred Scriptures, he has raised a regular ftructure, and filled his poem with a variety of incidents. He is fometimes dry and harsh; and too often the metaphysician and divine. But the general tenor of his work is interesting, elevated, and affecting. The artful change of his objects, and the scene, laid now in heaven, now on earth, and now in hell, afford fufficient diverfity; while unity of plan is perfectly fupported. Calm fcenes are exhibited in the employments of Adam and Eve in Paradife; and bufy fcenes, and great actions, in the enterprises of Satan, and in the wars of Angels. The amiable innocence of our first parents and the proud ambition of Satan afford a happy contraft through the whole poem, which gives it an uncommon charm. But the conclufion perhaps is too tragic for epic poetry.

The fubject naturally admits no great display of characters; but fuch, as could be introduced, are properly fupported. Satan makes a striking figure; and is the best drawn character in the poem. Milton has

ártfully given him a mixed character, not altogether void of fome good qualities. He is brave, and faithful to his troops. Amid his impiety he is not without remorfe. He is even touched with pity for our first parents; and from the neceffity of his fituation justifies his design against them. He is actuated by ambition and refentment rather, than by pure malice. The characters of Beelzebub, Moloch, and Belial, are well painted. The good angels, though defcribed with dignity, have more uniformity of character. Among them however the mild condescension of Raphael and the tried fidelity of Abdiel form proper characteristic distinctions. The attempt to describe God Almighty himself was too bold, and accordingly most unfuccefs ful. The innocence of our First Parents is delicately painted. In fome fpeeches perhaps Adam appears too knowing and refined for his fituation. Eve is hit off more happily. Her gentleness, modefty, and frailty are expreffively characteristic of the female character.

Milton's great and diftinguishing excellence is his fublimity. In this perhaps he excels even Homer. The first and fecond books of Paradife Loft are almost a continued feries of the highest sublime. But his fublimity differs from that of Homer; which is always accompanied by impetuofity and fire. The fublime of Milton is a calm and amazing grandeur. Homer warms and hurries us along; Milton fixes us in a state of elevation and aftonishment. Homer's fublimity ap