What is remarked of the sacred books?

What ingenious author has written on this subject?
What is the peculiarity of Hebrew poetry?

Whence is it deduced?

Why is ancient poetry sublime?

How can we best interest the figures of the sacred books?

What is said of their comparisons?

What is said of their allegories?

What is said of their personifications?,

Who are most eminent among the sacred composers?
Who is the most sublime of all poets?
Describe the Book of Job.

EPIC POETRY.

Or all poetical works, the epic poem is the most dignified. To contrive a story which is entertaining, important, and instructive; to enrich it with happy incidents; to enliven it by a variety of characters and descriptions; and to maintain a uniform propriety of sentiment, and a due elevation of style, are the highest efforts of poetical genius.

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An epic poem is the recital of some illustrious e ̃terprise in a poetical form. Epic poetry is of a moral nature, and tends to the promotion of virtue. With this view, it acts by extending our ideas of perfection, and exciting admiration. Now this is accomplished only by proper representations of heroic deeds and virtuous characters. Valour, truth, justice, fidelity, friendship, piety, and magnanimity, are objects which the epic muse presents to our minds in the most splendid and honourable colours."

Epic composition is distinguished from history by its poetical form, and its liberty of fiction. It is a more calm composition than tragedy. It requires a grave, equal, and supported dignity. On some cccasions it demands the pathetic and the violent; and it embraces a greater compass of time and action, than dramatic writing admits.

The action or subject of an epic poem must have three properties. It must be one; it must be great; it must be interesting. One action or enterprise must constitute its subject. Aristotle insists on unity, as

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essential to epic poetry; because independent facts never affect so deeply, as a tale that is one and connected. Virgil has chosen for his subject the establishment of Eneas in Italy; and the anger of Achilles, with its consequences, is the subject of the Iliad.

It is not, however, to be understood that epic unity excludes all episodes. On the contrary, critics consider them as great ornaments of epic poetry. They diversify the subject, and relieve the reader by shifting the scene. Thus Hector's visit to Andromache in the Iliad, and Erminia's adventure with the shepherd, in the seventh book of the Jerusalem, afford us a well judged and pleasing retreat from camps and battles.

Secondly, the subject of an epic poem must be so great and splendid, as to fix attention, and to justify the magnificent apparatus the poet bestows on it. The subject should also be of ancient date. Both Lucan and Voltaire have transgressed this rule. By confining himself too strictly to historical truth, the former does not please; and the latter has improperly mingled well known events with fictitious. Hence they exhibit not that greatness which the epic requires.

The third requisite in an epic subject is, that it be interesting. This depends in a great measure upon the choice of it. But it depends much more upon the skilful management of the poet. He must so frame his plan as to comprehend many affecting incidents. He must sometimes dazzle with valiant achievements; sometimes he must be awful and august; often tender and pathetic; and he must sometiines give us gentle and pleasing scenes of love, friendship, and affection.

To render the subject interesting, much also depends upon the dangers and obstacles which must be encountered. It is by the management of these, that the poet must rouse attention, and hold his reader in suspense and agitation.

It is generally supposed by critics, that an epic poem should conclude successfully; as an unhappy conclusion depresses the mind. Indeed, it is on the prosperous side that epic poets generally conclude. But two

authors of great name, Milton and Lucan, hold the contrary course. The one concludes with the subversion of Roman liberty; and the other with the expulsion of man from Paradise.

No precise boundaries can be fixed for the duration of the epic action. The action of the Iliad lasts, according to Bossu, only forty-seven days. The action of the Odyssey extends to eight years and a half; and that of the Eneid includes about six years.

The personages in an epic poem should be proper and well supported. They should display the features of human nature; and may admit different degrees of virtue, and even vice; though the principal characters should be such as will raise admiration and love. Poetic characters are of two sorts, general and particular. General characters are such as are wise, brave, and virtuous, without any further distinction. Particular characters express the species of bravery, of wisdom, and of virtue, for which any one is remarkable. In this discrimination of charac ters, Homer excels. Tasso approaches the nearest to him in this respect; and Virgil is the most deficient.

Among epic poets it is the practice to select some personage as the hero of the tale. This renders the unity of the subject more perfect, and contributes highly to the interest and perfection of this species of writing. It has been asked, who then is the hero of Paradise Lost? The devil, say some critics, who affect to be pleasant against Milton. But they mistake his intention, by supposing, that whoever is triumphant in the close, must be the hero of the poem. For Adam is, Milton's Hero; that is, the capital and most interesting figure in his poem.

In epic poetry, there are, beside human characters, gods, and supernatural beings. This forms what is called the machinery of epic poetry; and the French suppose this essential to the nature of an epic poem. They hold, that in every epic composition, the main action is necessarily carried on by the intervention of gods. But there seems to be no solid reason for their opinion. Lucan has no gods, nor supernatural agents. The author of Leonidas also has no machinery.

But though machinery is not absolutely necessary

to the epic plan, it ought not to be totally excluded from it. The marvellous has a great charm for most readers. It leads to sublime description, and fills the imagination. At the same time it becomes a poet to be temperate in the use of supernatural machinery; and so to employ the religious faith or superstition of his country, as to give an air of probability to events, most contrary to the common course of nature.

With regard to the allegorical personages, fame, discord, love, and the like, they form the worst kind of machinery. In description they may sometimes be allowed; but they should never bear any part in the action of the poem. As they are only mere names of general ideas, they ought not to be considered as per sons; and cannot mingle with human actors, without an intolerable confusion of shadows with realities.

In the narration of the poet, it is of little consequence whether he relate the whole story in his own cha racter, or introduce one of his personages to relate à part of the action that passed before the poem opens. Homer follows one method in his Iliad, and the other in his Odyssey. It is to be observed, however, that if the narrative be given by any of the actors, it gives the poet greater liberty of spreading out such parts of the subject, as he inclines to dwell upon in person, and of comprising the rest within a short recital, When the subject is of great extent, and comprehends the transactions of several years, as in the Odyssey and neid, this method seems preferable. But, when the subject is of smaller compass and shorter duration, as in the Iliad and Jerusalem, the poet, may, without disadvantage, relate the whole in his own person.

What is of most importance in the narration is, that it be perspicuous, animated, and enriched with every poetic beauty. No sort of composition requires more strength, dignity, and fire, than an epic poem, It is the region in which we look for every thing sublime in description, tender in sentiment, and bold or lively in expression. The ornaments of epic poetry are grave and chaste. Nothing loose, ludicrous, or affected, finds place there. All the objects it presents ought to be great, tender, or pleasing. Descriptions of disgusting or shocking objects are to be avoided.

Hence the fable of the Harpies in the Æneid, and the allegory of Sin and Death in Paradise Lost; should have been omitted.

Why is the epic poem the most dignified of all ?
What is an epic poem?

What are its objects?

How does epic composition differ from history?
What three properties belong to the subject?
How far is unity to be understood?

Give examples of episodes.

What is said of the greatness of the subject?
Who have erred in this respect?

How may the poem be made interesting?
What is said of the personages?

Describe the two kinds of poetic characters.
Who excel in this respect?

Who is the hero of Paradise Lost?,

What is the machinery of an epic Poem?

What is said of allegorical personages?

When should the poet narrate the whole in person?

HOMER'S ILIAD AND ODYSSEY.

THE father of epic poetry is Homer; and in order to relish him, we must divest ourselves of modern ideas of dignity and refinement, and transport our imagination almost three thousand years back in the history of mankind. The reader is to expect a picture of the ancient world. The two great characters of Homer's poetry, are fire and simplicity. But to have a clear idea of his merit, let us consider the Iliad under the three heads of the subject or action, the characters, and the narration.

The subject of the Iliad is happily chosen. For no subject could be more splendid than the Trojan war. A great confederacy of the Grecian states, and ten years' siege of Troy, must have spread far abroad the renown of many military exploits, and given an extensive interest to the heroes who were concerned in them. Upon these traditions Homer grounded his poem and, as he lived two or three centuries after the Trojan war, he had full liberty to intermingle