day of wrath. The light of the wicked shall be put out; the light shall be dark in his tabernacle. The steps of his strength shall be straitened, and his own counsel shall cast him down. For he is cast into a net, by his own feet. He walketh upon a snare. Terrors shall make him afraid on every side; and the robber shall prevail against him. Brimstone shall be scattered upon his habitation. His remembrance shall perish from the earth, and he shall have no name in the street. He shall be driven from light into darkness. They that come after him shall be astonished at his day. He shall drink of the wrath of the Almighty.'

QUESTIONS.

AMONG the various kinds of poetry, | what? Whence, what probably deriwhich we are at present employed in ved its origin? In the book of Ezra, examining, what justly deserves a what are we expressly old; and of place? With what view alone, do the some of David's Psalms, what is obsacred books afford a curious object of served? Repeat the remarks made on criticism? What do they display; and the 24th Psalm, to illustrate this rewhat exhibit? In what view do they mark. Why does our author notice this give rise to discussion of another kind? instance? The method of composition But what, at present, is our business; which has been explained, being uniand what must needs give pleasure?versally introduced into the hymns of What treatise ought to be particularly the Jews, what was the consequence? perused; and of it, what is observed? In But of this mode, what is observed? this lecture, what course is consequently Hence, where do we find it prevailing; pursued? In showing what, need not and what instance is given? Of this many words be spent? How is this il-form of writing, what is remarked? Inlustrated? What is there no reason to dependently of this peculiar mode of doubt? What has this occasioned? construction, by what is the sacred Taking the Old Testament, in our own poetry distinguished? What are its two translation, what do we find? How is most remarkable characters? What this remark illustrated? To show what, might one at first imagine? But how do is this sufficient; and afterwards, what they prevent this effect? To what is shall be shown? What may it be pro- their poetry indebted for much of its per, in passing, to remark? What illus-sublimity? How might all writers, who tration of this remark is given? What attempt the sublime, profit much; and evidence have we, that music and why? When is the mind most affected poetry were cultivated among the He- by any great idea; and what is the efbrews, from the earliest times? Of the fect of attempting to prolong the imgeneral construction of Hebrew poetry, pression? Of most of the ancient oriwhat is remarked? In what does it con- ginal poets, what is observed; and of sist? What is done in the first member what were the superfluities and excreof the period; and also in the second?scences of style, the result? With what What instance, to illustrate this form do the sacred books more particularly of Hebrew poetry, is given? To this abound, than any other writings? Why form of composition, what is owing; is it proper to dwell a little upon this arand why? From what is the origin of ticle? What figures there, are particuthis form of composition among the He- larly frequent? In order to do justice brews, to be deduced? With what were to these, what is necessary? In order they accompanied; and by whom were to do what, is some attention of thi they performed? To illustrate this, kind requisite; and why? Pursuing what instances are given? In this this course, wha. shall we find? Of manner, their poetry, when set to natural objects, what is observed; and music, naturally divided itself into what suggest to them many beautiful

sage.

figures? But in order to relish their observed? What other figure is also figures of this kind, of what must we frequently found in Scripture? When take notice? Of this remark, what il-formerly treating of this figure, what lustration is given? Again, as Judea was done? Of the parables of the prowas a hilly country, to what, during phetical writings, what is observed? the rainy months, was it exposed? What poetical figure is it, which, beHence, the frequent allusions to what; yond all others, elevates the style of and hence to what are great calamities | Scripture? How is this fully illustrated? frequently compared? Repeat the pas- What is the general remark on the sage here introduced from the Psalms. poetical books of the Old Testament? Which were the two most remarkable From what is it extremely different; mountains of the country; and for and what is it? How are the scenes what were they respectively noted? represented; and how is this illustraHence, how are they, with the greatest ted? After these remarks on the poetry propriety, employed? Repeat the illus- of the Scriptures in general, with what trations that follow. Under this head, is this dissertation concluded? What what is farther to be remarked? Of are the several kinds of poetical comearthquakes, tempests, and thunder and position which we find in Scripture ? Of lightning, what is observed? How does didactic poetry, what is the principal Isaiah describe the earth? In those instance? Of the nine first chapters of circumstances of terror, with which an that book, what is observed; and what appearance of the almighty is descri- is said of the rest? What other parts bed, from what, is it probable, the of Scripture likewise come under this figures were taken? Repeat the pas- head? Of elegiac poetry, what beautiful specimens occur in Scripture? Besides the natural objects of their Which of the Psalms is, in the highest own country, what did the Hebrews degree, tender and plaintive? But which frequently employ as grounds of im-is the most regular and perfect elegiac agery? With what were they chiefly composition in the Scriptures, and peroccupied; and in what estimation were haps that was ever written? Of this these held? As they were little addict- poem, what is observed? What does ed to commerce, and separated from the song of Solomon afford us? Consithe rest of the world by their laws and dered with respect to its spiritual meantheir religion, what was the conse-ing, what is it; and what is it in its quence? Hence, as a matter of course, form? Suitably to this form, of what is what allusions flowed? Hence, also, it full? In what poetry does the Old what images were employed? To dis- Testament abound? How is this rerelish such images is the effect of what? mark illustrated? In the Psalms, what Of Homer, what is here observed? do we find? From these instances, what Repeat the passage here introduced clearly appears? Of the different comfrom Isaiah illustrative of this remark. posers of the sacred books, what is obTo what, also, do we frequently find served? Who are the most eminent of figurative allusions? What instances the sacred poets? As the compositions are mentioned? What did the religion of David are chiefly of the lyric kind, of the Hebrews include ? Of what was what is the consequence; and in what it full; and with what was it connect- does he excel? In his Psalms, what are ed? Hence, what followed? From all found; but to whom does he yield; and this, what results? Whence is it copied; in what? For what is David chiefly and what advantage has it? In read- distinguished? In what Psalms does ing their works, where do we find our-he touch us most? Of Isaiah, what is selves; what are ever rising in our observed? In what is this abundantly view; and what constantly pass in dif- visible; and what is a material circumferent forms before us? Of the compari- stance? What is his reigning characsons employed by the sacred poets, ter; and of it, what is remarked? what is observed? In this respect, over What does he possess; and what prewhom have they an advantage; and vails in his book, to a greater extent, how does this appear? To illustrate this than in any other book of the prophetiremark, what fine comparison is intro- cal writings? How do Isaiah and Jereduced? Repeat it; and of it, what is miah compare; and of Ezekiel, what

Ir now remains to treat of the two highest kinds of poetical writing, the epic and the dramatic. I begin with the epic. This lecture shall be employed upon the general principles of that species of composition after which, I shall take a view of the character and genius of the most celebrated epic poets.

The epic poem is universally allowed to be, of all poetical works, the most dignified, and, at the same time, the most difficult in execution. To contrive a story which shall please and interest all readers, by being at once entertaining, important, and instructive; to fill it with suitable incidents; to enliven it with a variety of characters and of descriptions; and, throughout a long work, to maintain that propriety of sentiment, and that elevation of style, which the epic character requires, is unquestionably the highest effort of poetical genius. Hence so very few have succeeded in the attempt, that strict critics will hardly allow any other poems to bear the name of epic, except the Iliad and the Eneid.

There is no subject, it must be confessed, on which critics have displayed more pedantry than on this. By tedious disquisitions, founded on a servile submission to authority, they have given such an air of mystery to a plain subject, as to render it difficult for an ordinary reader to conceive what an epic poem is. By Bossu's definition, it is a discourse invented by art, purely to form the manners of men, by means of instructions disguised under the allegory of some important action which is related in verse. This definition would suit several of Esop's fables, if they were somewhat extended, and put into verse; and accordingly, to illustrate his definition, the critic draws a parallel, in form, between the construction of one of Esop's fables and the plan of Homer's Iliad. The first thing, says he, which either a writer of fables, or of heroic poems, does, is to choose some maxim or point of morality; to inculcate which, is to be the design of his work. Next, he invents a general story, or a series of facts, without any names, such as he judges will be most proper for illustra

ting his intended moral. Lastly, he particularizes his story; that is, if he be a fabulist, he introduces his dog, his sheep, and his wolf; or if he be an epic poet, he looks out in ancient history for some proper names of heroes to give to his actors; and then his plan is completed.

This is one of the most frigid and absurd ideas that ever entered into the mind of a critic. Homer, he says, saw the Grecians divided into a great number of independent states; but very often obliged to unite into one body against their common enemies. The most useful instruction which he could give them in this situation, was, that a misunderstanding between princes is the ruin of the common cause. In order to enforce this instruction, he contrived, in his own mind, such a general story as this. Several princes join in a confederacy against their enemy. The prince who was chosen as the leader of the rest, affronts one of the most valiant of the confederates, who thereupon withdraws himself, and refuses to take part in the conimon enterprise. Great misfortunes are the consequence of this division; till at length, both parties having suffered by the quarrel, the offended prince forgets his displeasure and is reconciled to the leader; and union being once restored, there ensues complete victory over their enemies. Upon this general plan of his fable, adds Bossu, it was of no great consequence, whether, in filling it up, Homer had employed the names of beasts, like Æsop, or of men. He would have been equally instructive either way. But as he rather fancied to write of heroes, he pitched upon the wall of Troy for the scene of his fable; he feigned such an action to happen there; he gave the name of Agamemnon to the common leader; that of Achilles to the offended prince; and so the Iliad arose.

He that can believe Homer to have proceeded in this manner, may believe any thing. One may pronounce, with great certainty, that an author who should compose according to such a plan; who should arrange all the subject in his own mind, with a view to the moral, before he had ever thought of the personages who were to be the actors, might write, perhaps, useful fables for children; but as to an epic poem, if he adventured to think of one, it would be such as would find few readers. No person of any taste can entertain a doubt, that the first objects which strike an epic poet are, the hero whom he is to celebrate, and the action, or story, which is to be the ground-work of his poem. He does not sit down, like a philosopher, to form the plan of a treatise of morality. His genius is fired by some great enterprise, which, to him, appears noble and interesting; and which, therefore, he pitches upon, as worthy of being celebrated in the highest strain of poetry. There is no subject of this kind, but will always afford some general moral instruction, arising from it naturally. The instruction which Bossu points out, is certainly suggested by the Iliad; and there is another which arises as naturally, and may just as well be assigned for the moral of that poem; namely, that providence avenges those who have suffered injustice; but that when they allow their resentment to carry them too far, it brings misfortunes on themselves. The subject

of the poem is the wrath of Achilles, caused by the injustice of Agamemnon. Jupiter avenges Achilles by giving success to the Trojans against Agamemnon; but by continuing obstinate in his resentment, Achilles loses his beloved friend Patroclus.

The plain account of the nature of an epic poem is, the recital of some illustrious enterprise in a poetical form. This is as exact

a definition, as there is any occasion for on this subject. It comprehends several other poems besides the Iliad of Homer, the Æneid of Virgil, and the Jerusalem of Tasso; which are, perhaps, the three most regular and complete epic works that ever were composed. But to exclude all poems from the epic class, which are not formed exactly upon the same model as these, is the pedantry of criticism. We can give exact definitions and descriptions of minerals, plants, and animals; and can arrange them with precision, under the different classes to which they belong, because nature affords a visible unvarying standard, to which we refer them. But with regard to works of taste and imagination, where nature has fixed no standard, but leaves scope for beauties of many different kinds, it is absurd to attempt defining and limiting them with the same precision. Criticism, when employed in such attempts, degenerates into trifling questions about words and names only. I therefore have no scruple to class such poems as Milton's Paradise Lost, Lucan's Pharsalia, Statius's Thebaid, Ossian's Fingal and Temora, Camoëns’ Lusiad, Voltaire's Henriade, Cambray's Telemachus, Glover's Leonidas, Wilkie's Epigoniad, under the same species of composition with the Iliad and the Æneid; though some of them approach much nearer than others to the perfection of these celebrated works. They are, undoubtedly, all epic; that is, poetical recitals of great adventures; which is all that is meant by this denomination of poetry.

Though I cannot, by any means, allow, that it is the essence of an epic poem to be wholly an allegory, or a fable contrived to illustrate some moral truth, yet it is certain, that no poetry is of a more moral nature than this. Its effect in promoting virtue, is not to be measured by any one maxim, or instruction, which results from the whole story, like the moral of one of Æsop's fables. This is a poor and trivial view of the advantage to be derived from perusing a long epic work, that at the end we shall be able to gather from it some common-place morality. Its effect arises from the impression which the parts of the poem separately, as well as the whole taken together, make upon the mind of the reader; from the great examples which it sets before us, and the high sentiments with which it warms our hearts. The end which it proposes is to extend our ideas of human perfection: or, in cther words, to excite admiration. Now this can be accomplished only by proper representations of heroic deeds and virtuous characters. For high virtue is the object, which all mankind are formed to admire; and, therefore, epic poems are, and must be, favourable to the cause of virtue. Valour, truth, justice, fidelity, friendship, piety, magnanimity, are the objects which, in the course of such compositions, are presented to our minds, under the most splendid and honourable colours. In behalf of virtu