But Into this Homer was naturally led by the spirit of the times, which regarded these appearances as no way uncommon or unnatural. Virgil has here, as in many other particulars, trod in the footsteps of Homer. I cannot agree with Lord Kaimes, in looking upon this circumstance as a blemish; since it has given occasion to the most sublime passages which occur in both of these poets.* if it has improved them in a poetical, it certainly has not in a moral, point of view. The divine personages are still less fit than the human, to be held up as models for imitation. They seem, indeed, to consider their Deity as absolving them from every moral obligation, and as a licence to commit, without blame, every species of enormity.. MILTON. The Paradise Lost differs from both these poems in one respect; that whereas supernatural beings are there only occasional and * II. I, 528, 530. Geor, I, 328, 332. XIII, 15, 30. XX, 56, 65. Virg. Æn. VIII, 698, 706. auxiliary, they are here the leading and principal agents. This circumstance has probably, not a little, contributed to make sublimity so strongly the characteristic of Milton's genius. At the same time, it renders his poem not very well fitted for conveying any practical impression. So far, however, as human beings are introduced, his subject not only admitted of, but required, the representation of perfect characters; and this he has performed in a manner which must charm every reader of tase. He was necessarily confined, indeed, to a very narrow sphere. The only virtues which our first parents could have an opportunity of practising were piety and conjugal affection; of which last, in particular, Milton has given the finest picture imaginable.. OSSIAN. Most of the other epic poems have been formed, with a few variations, after the model of Homer and Virgil. Those of Ossian must be excepted; productions highly in teresting, both in a poetical, and in an historical, point of view. Much controversy has been maintained respecting their authenticity. As poetry, they are equally charming, whatever opinion we may adopt on this subject. When considered, however, as throwing light upon the history of manners, it becomes very important to ascertain how far they are really the production of the age to which they are ascribed. It seems now to be generally admitted, that some originals exist, but that they have received many additions and embellishments from the hand of the translator. In consequence of late inquiries, there appears to be a fair prospect of this much contested point being brought to a satisfactory issue. Such being the case, any farther observations on the subject would at present be premature. Epic poety has, for a long time past, been much on the decline. If some not unsuccessful attempts have of late been made to revive it, this, I think, may be imputed rather to imitation, and a taste for novelty, than to its being really adapted to the spirit of the times. I know not if this decline be a circumstance much to be regretted. War and battles, the favourite employment of rude nations, form its chief theme, and the only one, perhaps, for which it is perfectly adapted. But, unless in particular circumstances, the spirit which these breathe, is not that which it is most desirable to cultivate. The masterpieces which have been already produced, may be sufficient to gratify our taste for this species of poetry; and the attention of mankind may now be turned, with advantage, towards more pacific and useful achievements. XENOPHON. The first work of fiction (of any fength at least), which we find written in prose, is the Cyropædia of Xenophon. It is the first also, that appears to have been composed with a view to instruction. It belongs to the third description of fictitious narratives, which has been noticed as by far the most effectual for this purpose. Its object is to exhibit a perfect model of what a sovereiga prince ought to be, and of the conduct which he ought to follow, both in peace and war. The author was, perhaps, the most amiable and accomplished character of his age. Deeply impressed with that pure and sublime morality, which was taught in the school of Socrates and Plato; distinguished both as a statesman and commander; and having, in the latter capacity, rendered the most important services to his country; he was, doubtless, every way qualified for such an undertaking. It has, accordingly, been universally regarded as one of the most elegant, pleasing, and instructive works that have ever appeared. It is not to be regarded, however, as a work of mere fiction. The outlines of the story were undoubtedly true, as well as all those facts which were not inconsistent with the author's design. But there may be great reason to doubt, if the character of the real Cyrus bore much resemblance to that of Xenophon's hero. It is hardly consistent with the general tenor of history, to sup |