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of those mixed embellishments of Tasso. Every thing is just and Datural. His sentiments show that he had a perfect insight into human nature, and that he knew every thing which was the most proper to affect it.

Mr. Dryden has in some places, which I may hereafter ke notice of, misrepresented Virgil's way of thinking as to this particular, in the translation he has given us of the Æneid. I do not remember that Homer any where falls into the faults abovementioned, which were, indeed, the false refinements of later ages. Milton, it must be confest, has sometimes erred in this respect, as I shall shew more at large in another paper : though, considering all the poets of the age in which he writ were infected with this wrong way of thinking, he is rather to be admired that he did not give more into it, than that he did sometimes comply with the vicious taste which still prevails so much among modern writers.

But since several thoughts may be natural which are low and groveling, an epic poet should not only avoid such sentiments as are unnatural or affected, but also such as are mean and vulgar. Homer has opened a great field of raillery to men of more delicacy than greatness of genius, by the homeliness of some of his sentiments. But, as I have before said, these are rather to be imputed to the simplicity of the age in which he lived, to which I may also add, of that which he described, than to any imperfection in that divine poet. Zöilus, among the ancients, and Monsieur Perrault among the moderns, pushed their ridicule very far upon him, on account of some such sentiments. There is no blemish to be observed in Virgil under this head, and but a very few in Milton.

I shall give but one instance of this impropriety of thought in Homer, and at the same time compare it with an instance of the same nature, both in Virgil and Milton. Sentiments which

raise laughter can very seldom be admitted with any decency into an heroic poem, whose business is to excite passions of a much nobler nature. Homer, however, in his characters of Vulcan and Thersites, in his story of Mars and Venus, in his beha. viour of Irus, and in other passages, has been observed to have lapsed into the burlesque character, and to have departed from that serious air which seems essential to the magnificence of an epic poem. I remember but one laugh in the whole Æneid, which rises in the fifth book upon Moncetes, where he is represented as thrown overboard, and drying himself upon a rock. But this piece of mirth is so well timed, that the severest critic can have nothing to say against it, for it is in the book of games and diversions, where the reader's mind may be supposed to be sufficiently relaxed for such an entertainment. The only piece of pleasantry in Paradise Lost, is where the evil spirits are described as rallying the angels upon the success of their new invented artillery. This passage I look upon to be the most exceptionable in the whole poem, as being nothing else but a string of puns, and those too very indifferent.

Satan beheld their plight,
And to his mates thus in derision call'd.

O friends, why come not on these victors proud!
Ere while they fierce were coming, and when we,
To entertain them fair with open front,
And breast, (what could we more?) propounded terms
Of composition, straight they chang'd their minds,
Flew off, and into strange vagaries fell,
As they would dance; yet for a dance they seem'd
Somewhat extravagant and wild, perhaps
For joy of offer'd peace; but I suppose
If our proposals once again were heard,
We should compel them to a quick result.

To whom thus Belial, in like gamesome mood.
Leader, the terms we sent, were terms of weight,
Of hard contents, and full of force urg'd home,

Such as we might perceive amus'd them all,
And stumbled mapy; who receives them right,
Had need, from head to foot, well understand;
Not understood, this gift they have besides,
They shew us when our foes walk not upright.

Thus they among themselves in pleasant vein
Stood scoffing

L.

No. 285. SATURDAY, JANUARY 26.

Ne quicunque Deus, quicunque adhibebitur heros,
Regali conspectus in anro nuper et ostro,
Migret in obscuras bumili sermone tabernas:
Aut dum vitat humum, nubes et inania captet.

Hor. Ars Poet. 227.
But then they did not wrong themselves so much,
To make a god, a bero, or a king,
(Stript of his golden crown, and purple robe)
Descend to a mechanic dialect;
Nor (to avoid such meanness) soaring high,
With empty sound, and airy notions fly.

RoscoMMON.

Having already treated of the fable, the characters and sentiments in the Paradise Lost, we are in the last place to consider the language; and as the learned world is very much divided upon Milton as to this point, I bope they will excuse me if I appear particular in any of my opinions, and incline to those who judge the most advantageously of the author.

It is requisite that the language of an heroic poem should be both perspicuous and sublime. In proportion as either of these two qualities are wanting,' the language is imperfect. Perspicuity is the first and most necessary qualification ; insomuch, that a good-natured reader sometimes overlooks a little slip even in

grammar or syntax, where it is impossible for him to mistake

the

Are wanting. It should be is wanting.-H.
VOL. V.-3

the poet's sense. Of this kind is that passage in Milton, wherein he speaks of satan :

God and his Son except,
Created thing nought valu'd he nor shunn'd.

And that in which he describes Adam and Eve :

Adam the goodliest man of men since born
His sons, the fairest of her daughters Eve.

It is plain, that in the former of these passages, according to the natural syntax, the divine persons mentioned in the first line are represented as created beings; and that in the other, Adam and Eve are confounded with their sons and daughters. Such little blemishes as these, when the thought is great and natural, we should, with Horace, impute to a pardonable inadvertency, or to the weakness of human nature, which cannot attend to each minute particular, and give the last finishing to every circumstance in so long a work. The ancient critics, therefore, who were actuated by a spirit of candour, rather than that of cavilling, invented certain figures of speech, on purpose to palliate little errors of this nature in the writings of those authors who had so many greater beauties to atone for them.

If clearness and perspicuity were only to be consulted, the poet would have nothing else to do but to clothe his thoughts in the most plain and natural expressions. But since it often happens that the most obvious phrases, and those which are used in ordinary conversation, become too familiar to the ear, and contract a kind of meanness by passing through the mouths of the vulgar, a poet should take particular care to guard himself against idiomatic ways of speaking. Ovid and Lucan have many poor

* If clearness and perspicuity were, &c. Here are two substantives indeed, but one thing only is expressed. He should have said—“if clearness or perspicuity was only.--H.

nesses of expression upon this account, as taking up with the first phrases that offered, without putting themselves to the trouble of looking after such as would not only be natural, but also elevated and sublime. Milton has but a few failings in this kind, of which, however, you may meet with some instances, as in the following passages.

Embryos and Idiots, Eremites and Friars,
White, black, and grey, with all their trumpery,
Here pilgrims roam

- A while discourse they hold,
No fear lest dinner cool; when thus began
Our author
Who of all ages to succeed, but feeling
The evil on him brought by me will curse
My head, ill fare our ancestor impure,

For this we may thank Adam The great masters in composition know very well that many an elegant phrase becomes improper for a poet or an orator, when it has been debased by common use. For this reason the works of ancient authors, which are written in dead languages, have a great advantage over those which are written in languages that are now spoken. Were there any mean phrases or idioms in Virgil and Homer, they would not shock the ear of the most deli. cate modern reader, so much as they would have done that of an old Greek or Roman, because we never hear them pronounced in our streets, or in ordinary conversation.

It is not, therefore, sufficient, that the language of an epic poem be perspicuous, unless it be also sublime. To this end it ought to deviate from the common forms and ordinary phrases of speech. The judgment of a poet very much discovers itself in shunning the common roads of expression, without falling into such ways of speech as may seeni stiff and unnatural; he must not swell into a false sublime, by endeavouring to avoid the other extreme. Among the Greeks, Æschylus, and sometimes So

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