where the persons that speak are known to be mere men and women of the common class, under whatever titles they may appear. In expressing the glowing sentiments of heroic passions and affections, this high tone ought, indeed, to be kept up: for the violent agitations of passion or affection always raise and expand vigorous minds; and give them a charac-; ter of enthusiasm: wherefore their expressions, when under the influence of them, ought to be. bold, elevated, and poetical; the language of poetry being, in fact, no other than that of enthusiasm. But why this exalted style is to be kept up in the common situations of familiar intercourse, to which tragedy must sometimes descend, I can see no reason whatever; and therefore decidedly prefer the mixture of prose and blank verse, which our old dramatic writers took from nature, to that monotonous pomp of diction, which their successors borrowed from the French: nor do I see any impropriety in mixing sallies of pleasantry in these familiar parts of the dialogue. 26. To draw any inference to the contrary from the uniform style of epic poetry, is to reason upon an analogy, which does not exist: for, as the personages of the epic are not subjected to the evidence of sense, like those of the dramatic, the imagination is at liberty to form what notions of them it pleases; and it CHAP. III. Of Judg ment. CHAP. ment. belongs to the art of the poet to aggrandize and embellish those notions, in proportion as Of Judg- he wishes to impress his reader with grand and sublime ideas of the transactions, which he relates. For this purpose, a style uniformly elevated above that of the common vehicle of social intercourse is absolutely necessary; and a metrical style is more appropriate than any other; as it can sustain this elevation without being turgid or transposed; and consequently descend without being debased, and rise without being inflated. Its ordinary tone is not that of common nature; but of nature elevated to enthusiasm by supernatural inspiration; and it is by speaking in this tone that the persons of the epic acquire a supernatural elevation of character, which the imagination readily yields to them, because its deceptions are never controverted by the evidence of the senses. Homer has no where told us that his heroes were of supernatural dimensions; and, if he had, he would have destroyed the interest of his poem; but, nevertheless, no one, I believe, ever read the Iliad without conceiving in his mind ideas of men whose ordinary stature could not have been less than ten feet. 27. This expansion of the imagination, by a systematic elevation of language, is one of the most efficacious means of giving poetical probability; or making supernatural events appear 4 credible for, when once we have conceived supernatural ideas of the characters, we expect them to perform supernatural actions. The fictions of the Iliad are as extravagant as those of any common romance or book of knighterrantry; and if we read them in prose, we immediately perceive them to be so; but the enthusiasm of the poet's numbers so expands the imaginations of his readers, that they spontaneously conceive ideas of his characters. adequate to the actions which he makes them perform. 28. But even with this magical enthusiasm of verse, had Achilles been brought into action at once; and, without our having any previous acquaintance with him, defeated a whole Trojan army of fifty thousand men by the force of his single arm, we should have turned away with coldness and disgust from so absurd a tale: but the poet has opened his character to us by degrees; and raised it by artful contrasts, and allusions seemingly accidental, scattered through all the preceding parts of the poem :-every faculty of his mind, too, is upon the same scale as the strength and agility of his body; all that he says being distinguished by a glow of imagination, a fervor of passion, and energy of reasoning peculiar to himself:-even the tender affections of his mind partake of its greatness and its pride; his piety is reverence and not CHAP. Of Judg ment. CHAP. III. Of Judg ment. fear; his friendship gives, but never seeks pro- 29. To describe such a character as this, or indeed any other, requires neither feeling nor talents but to delineate or represent it-to exhibit it speaking and acting under the influence of all the variety of passions, to which it is liable-requires the utmost perfection of both; and the more highly the picture is finished, the greater is the difficulty and the greater the merit for it is in the little expressions of αρισται των υπερβολων αἱ αυτο τετο διαλανθανεσαι, ὅτι εἰσιν igora-LONGIN. f, xxxviii. nature, and circumstances of truth, that the mind discovers and feels the resemblance between fiction and reality; and thence gives credit to the former, when it embellishes and exaggerates. Truth is naturally circumstantial, especially in matters that interest the feelings; for that, which has been strongly impressed upon the mind, naturally leaves precise and determinate ideas: whence a narration is always rendered more credible by being minutely detailed; provided the minute particulars are such as really do happen in similar transactions, with which we are acquainted. That which is demonstrably false can never, by any means, acquire even the semblance of truth; but that, which we judge to be false only by analogy and general experience, may acquire such semblance, by being connected with circumstances, which, demonstration or experience tell us, are true; or by arising out of events, which analogy tells us, may be true; and the more of these real circumstances, and probable events are connected with it, the more credible will it seem. 30. Hence we may account for the extreme exactitude, with which, that supreme master of fiction, the author of the Iliad, has described every thing, in which error or inaccuracy might be detected, either by experience, or demonstration. The structure of the human body; the effects of wounds; the symptoms of death; CHAP. III. Of Judg ment. |