stitious spirit of the age. The place of the ancient deities was supplied by giants and enchanters, beings generally of a hostile and malignant nature. It was obviously the interest of the warrior to represent his enemies in this light, which at once increased the glory of victory, and diminished the shame of defeat.

These works possess an honourable distinction over Homer, in the higher spirit of morality which they breathe. The true knight was brave, gentle, courteous, incapable of any thing base or dishonourable; ever ready to undertake the cause of those who were suffering under tyranny and injustice. Chastity also, or, at least, constancy to one object, though not perhaps very generally practised, was requisite for attaining the highest honours of knighthood. Most of these qualities were, in a manner, implied by the nature of their profession, which was entered upon for the purpose of panishing the guilty, and relieving the oppressed. Probably, also, notwithstanding the very corrupted state of religion during

those ages, some portion of them was owing to the influence of christian morality. The church of Rome had, it is true, invented va rious pernicious modes of eluding its obligation. Still she was careful not to lose sight of it altogether. Her wealth and influence arose chiefly from indulgences, penances, and atonements, which could not have been productive, without a consciousness of guilt. on the part of her votaries. It was her interest, therefore, to keep in view some of the leading principles of morality; nor was she disposed, as some sects have been, to vilify and depreciate it.

But if the romance writers possess, in this respect, some superiority over Homer, in point of genius they are far inferior, and have never, therefore, been held in nearly the same estimation. Their merit seems, indeed, to have been rather under-rated; partly from the great extravagance of their fictions, and partly from the ridicule thrown on them by the celebrated novel of Cervantes. The specimen, which has lately been laid before us by Mr. Southey, is not only

interesting by the views which it gives o manners, but possesses a very respectable share of literary merit. With that simplicity which is the great charm of those early writings, it unites considerable descriptive and pathetic powers.

On the foundation of these romances, Ariosto has raised his poem of Orlando Furioso; a strange, wild, heterogeneous, production; displaying, however, great richness of fancy, and brilliancy of description, together with a very considerable portion of wit and humour. Its extreme licentiousness, however, detracts considerably from its merit in a moral point of view.

We proceed now to consider those prose fictions which have appeared in Europe, fince the period of the revival of learning. These have been confined chiefly to France and England. We shall begin with noticing some of the most remarkable which have appeared in the former country.

FENELON.

The first that seems deserving of notice is Telemachus, the production of the amiable Fenelon. This work, like the Cyropædia of Xenophon, was composed chiefly with a view to the instruction of its readers. It does not proceed, however, upon the same plan. Telemachus is oftener held forth as a warning than as an example. This the author might find convenient as a delicate mode of pointing out the faults of his royal pupil, and warning him of the deference which he owed to his preceptor. But it renders the work in some respects less adapted to general use. The reader is sometimes in danger of sharing the errors of Telemachus; and, like him, of regarding with aversion the severity of Mentor. On other occasions, his misconduct is such as to render his character less interesting, and, consequently, the narrative less agreeable. The first part, where nothing of this kind occurs, is by much the most original and pleasing.

D

Upon the whole, the chief merit of Telemachus consists in the spirit which breathes throughout, and particularly in the reflections with which it is interspersed. Reflections, indeed, are rather out of place in a work of this nature: but these are so extremely beautiful, and come with such propriety from the mouth of Mentor, that they may well claim an exemption from the general rule.

As a work of genius, Telemachus is entitled to a very high rank. It is not, like the Cyropædia, a mere prose narrative. Though not written in verse, the style and sentiments are altogether poetical; so that it occupies a sort of middle place between the two species of composition. The style is pure, copious, flowing, rather defective in order and precision, but bearing everywhere marks of the richest and most beautiful imagination. This character applies particularly to the two or three first books. The warlike scenes at the conclusion were not so well suited to his genius; and he has there trod rather too closely in the footsteps of Homer and Virgil.