ers to argue or explain, to magnify or diminish, to raise1 love or hatred, pity or terror, or any other passion, we ought to consider whether the sentiments he makes use of are proper for those 2 ends. Homer is censured by the critics for his defect as to this particular in several parts s of the Iliad and Odyssey, though at the same time those who have treated this great poet with candor have attributed this defect to the times in which he lived. It was the fault of the age, and not of Homer, if there wants that delicacy in some of his sentiments which now appears in 10 the works of men of a much inferior genius. Besides, if there are blemishes in any particular thoughts, there is an infinite beauty in the greatest part of them. In short, if there are many poets who would not have fallen into the meanness of some of his sentiments, there are none 15 who could have risen up to the greatness of others. Virgil has excelled all others in the propriety of his sentiments. Milton shines likewise very much in this particular; nor must we omit one consideration which adds to his honor and reputation. Homer and Virgil introduced persons 20 whose characters are commonly known among men, and such as are to be met with either in history or in ordinary conversation. Milton's characters, most of them, lie out of nature, and were to be formed purely by his own invention. It shows a greater genius in Shakespeare to 25 have drawn his Caliban than his Hotspur or Julius Cæsar; the one was to be supplied out of his own imagination, whereas the other might have been formed upon tradition, history, and observation. It was much easier therefore for Homer to find proper sentiments for an assembly of Grecian generals than for Milton to diversify his infernal 1 For endeavors. . . raise,' the first edition has, argues or explains, magnifies or diminishes, raises.' 2 First edition, these'; second edition, 'their' (Arber), 'those' (Morley). 30 ΙΟ council with proper characters and inspire them with a variety of sentiments. The loves1 of Dido and Æneas are only copies of what has passed between other persons. Adam and Eve, before the Fall, are a different species 5 from that of mankind, who are descended from them; and none but a poet of the most unbounded invention and the most exquisite judgment could have filled their conversation and behavior with so many apt 2 circumstances during their state of innocence. Nor is it sufficient for an epic poem to be filled with such thoughts as are natural, unless it abound also with such as are sublime. Virgil in this particular falls short of Homer. He has not, indeed, so many thoughts that are low and vulgar, but at the same time has not so many 15 thoughts that are sublime and noble. The truth of it is, Virgil seldom rises into very astonishing sentiments where he is not fired by the Iliad. He everywhere charms and pleases us by the force of his own genius, but seldom elevates and transports us where he does not fetch his 20 hints from Homer. Milton's chief talent, and indeed his distinguishing excellence, lies in the sublimity of his thoughts. There are others of the moderns who rival him in every other part of poetry; but in the greatness of his sentiments 25 he triumphs over all the poets, both modern and ancient, Homer only excepted. It is impossible for the imagination of man to distend itself with greater ideas than those which he has laid together in his First, Second,3 and Sixth Books. The Seventh, which describes the creation 30 of the world, is likewise wonderfully sublime, though not so apt to stir up emotion in the mind of the reader, nor consequently so perfect in the epic way of writing, be 1 Morley, 'lovers.' 2 For so many apt,' the first edition has such beautiful.' 3 Added in the second edition. 4 First edition, 'Book.' cause it is filled with less action. Let the judicious reader compare what Longinus has observed on several passages in Homer, and he will find parallels for most of them in the Paradise Lost. From what has been said we may infer that, as there 5 are two kinds of sentiments, the natural and the sublime, which are always to be pursued in an heroic poem, there are also two kinds of thoughts which are carefully to be avoided. The first are such as are affected and unnatural; the second, such as are mean and vulgar. As for 10 the first kind of thoughts, we meet with little or nothing that is like them in Virgil. He has none of those trifling1 points and puerilities that are so often to be met with in Ovid, none of the epigrammatic turns of Lucan, none of those swelling sentiments which are so frequently2 in Sta- 15 tius and Claudian, none of those mixed embellishments of Tasso. Everything is just and natural. His sentiments show that he had a perfect insight into human nature, and that he knew everything which was the most proper to affect it.3 20 Mr. Dryden has, in some places which I may hereafter take 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 anywhere falls into the faults above mentioned, which were indeed 25 the false refinements of later ages. Milton, it must be 1 First edition, 'little.' 2 First edition, 'frequent.' 3 At this point the first edition adds, 'I remember but one line in him which has been objected against by the critics as a point of wit. It is in his Ninth Book, where Juno, speaking of the Trojans, how they survived the ruins of their city, expresses herself in the following words: Nam rapti potuere capi, nam incensa cremarunt Were the Trojans taken even after they were captives, or did Troy burn even when it was in flames?' confessed, has sometimes erred in this respect, as I shall show more at large in another paper; though considering how all the poets of the age in which he writ were infected with this wrong way of thinking, he is rather to be 5 admired that he did not give more in to it than that he did sometimes comply with the1 vicious taste which still2 prevails so much among modern writers. 3 But since several thoughts may be natural which are low and groveling, an epic poet should not only avoid Io 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 15 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. Zoilus among the ancients, and Monsieur Perrault among the moderns, pushed their ridicule very far upon 20 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. 4 5 I shall give but one instance of this impropriety of thought in Homer, and at the same time compare it 25 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 it is to excite passions of a much nobler nature. Homer, however, in his characters of 1 First edition, 'that' (Arber). 2 First edition omits 'still' (Arber). 8 First edition, 'low.' 4 First edition omits 'a.' 5 First edition, 'sentiments.' 6 Omitted in second edition Arber; not so Morley). Vulcan and Thersites, in his story of Mars and Venus, in his behavior 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. 5 I remember but one laugh in the whole Æneid, which rises in the Fifth Book upon Mencetes, where he is represented as thrown overboard, and drying himself upon a rock. But this piece of mirth is so welltimed that the severest critic can have nothing to say 10 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 15 success of their new-invented artillery. This passage I look upon to be the most exceptionable1 in the whole poem, as being nothing else but a string of puns, and those, too, very indifferent ones: 2 Satan beheld their plight, And to his mates thus in derision called: — And breast (what could we more?), propounded terms As they would dance. Yet for a dance they seemed To whom thus Belial, in like gamesome mood: 1 For 'most exceptionable' the first edition has 'silliest.' 26.607-629. 20 25 30 |