pod or ill inclinations of every one who speaks or ads: they are poetically bad, when perfons are made to speak on act out of character, or incontently, or unequally. The manners of Eneas and of Mezentius are equally good, confidered petically, because they equally demonstrate the piety of the one, and the impiety of the other. CHARACTER OF THE HERO. It is requifite to make the fame diftinction be tween a hero in morality, and a hero in poetry, as between moral and poetical goodness. Achilles had as much right to the latter, as Æneas. Ariftotle fays, That the hero of a poem fhould be neither good nor bad; neither advanced above the reft of mankind by his virtues, or funk beneath them by his vices; that he may be the proper and faller example to others, both what to imitate and what to decline. The other qualifications of the manners are, that they be fuitable to the caufes which either raile or discover them in the perfons; that they have an exact refemblance to what hiftory, or fable, have delivered of those perfons, to whom they are afcribed; and that there be an equality in them, fo that no man is made to act, or peak, that the chief character of a hero is that of an accomplished man. They would be all alike: all valiant in battle, prudent in council, pious in the acts of religion, courteous, civil, magnificent; and, laftly, endued with all the prodigious virtues any poet could invent. All this would be independent from the action and the fubject of the poem; and upon feeing each hero feparated from the reft of the work we fhould not easily guess, to what action, and to what poem, the hero belonged. So that we frould fee, that none of thofe would have a character; fince the cha racter is that which makes a perfon difcernible; and which diftinguiflies him from all others. This commanding quality in Achilles, is his anger; in Ulyffes, the art of diflimulation; in neas, meeknefs. Each of thefe may be ftiled, by way of eminence, the character in these he roes. But thefe characters cannot be alone. It is ab folutely neceffary that fome other should give them a lustre, and embellish them as far as they are capable: either by hiding the defects that are in each, by fome noble and thining qualities; as the poet has done the anger of Achilles, by fhading it with extraordinary calour; or by making them entirely of the nature of a true and folid virtue, as is to be obferved in the two others. The diffimulation of Ulyffes is a part of his pru But this equality is not fufficient for the unity dence; and the meekness of Eneas is wholly of the character; it is further neceffary, that the employed in fubmitting his will to the Gods. For fame fpirit appear in all forts of encounters. Thus the making up of this union, our poets have joinAneas acting with great piety and mildnefs ined together fuch qualities as are by nature the out of his character. UNITY OF THE CHARACTER. the first part of the Eneid, which requires no Other character; and afterwards appearing illuf, trious in heroic valour, in the wars of the fecond part; but there, without any appearance either of a hard or a foft difpofition, would, doubtless, be far from offending again the equality of the manners: bat yet there would be no fimplicity or unity in the character. So that, befides the qualities that claim their particular place upon different occafions, there must be one appearing throughout, which commands over all the reft; and without this, we may affirm, it is no character. as One may indeed make a hero as valiant as Achilles, as pious as Eneas, and as prudent Ulyffes. But it is a mere chimera, to imagine a bero that has the valour of Achilles, the piety of Eneas, and the prudence of Ulyffes, at one and the fame time. This vifion might happen to an author, who would fuit the character of a hero to whatever each part of the action might naturally require, without regarding the effence of the fable, or the unity of the character in the fame perfon upon all forts of occafions: this hero would be the mildeft, best-natured prince in the world, and alfo the most choleric, hard-hearted, and implacable creature imaginable; he would be extremely tender like Æneas, extremely violent like Achilles, and yet have the indifference of Ulyffes, that is incapable of the two extremes. Would it not be in vain for the poet to call this perion by the fame name throughout? Let us reflect on the effects it would produce in feveral poems, whofe authors were of opinion, most compatible; valour with anger, meeknefs with piety, and prudence with diffimulation. This lait union was neceffary for the goodness of Ulyffes; for, without that, his diffimulation might have degenerated into wickedness and double. dealing. We now come to the machines of the Epic Poem. The chief paffion which it aims to excite being `admiration, nothing is fó conducive to that as the marvellous; and the importance and dignity of the action is by nothing fo greatly elevated as by the care and interpofition of Heaven. Thele machines are of three forts. Some are theological, and were invented to explain the nature of the Gods. Others are phyfical, and reprefent the things of nature. The laft are moral, and are images of virtues and vices. their Homer and the ancients have given to men. deities the manners, paffions, and vices view it is eafier to defend Homer than to blame If it be allowable to fpeak thus of the Gods in theology, much more in the fictions of natural philofophy; where, if a poet defcribes the deities, he must give them fuch manners, speeches, and ae tions, as are conformable to the nature of the things they reprefent under thofe divinities. The cafe the fame in the morals of the deities: Miperva is wife, because the reprefents prudence; Venus is both good or bad, because the paffion of love is capable of these contrary qualities. Since among the Gods of a poem fome are good, fome bad, and fome indifferently either; and fince of our paflions we make so many allegorical deities, we may attribute to the Gods all that is done in the poem, whether good or evil. But these deities do not act conftantly in one and the fame manner. Sometimes they act invifibly, and by mere infpiration, which has nothing in it extraordinary or miraculous, being no more than what we fay every day, "That fome God has affifted us, or "fome dæmon has inftigated us." At other times thy appear visibly, and manifeft themselves to men, in a manner altogether miraculons and preternatural. The third way has fomething of both the others; it is in truth a miracle, but is not commonly fo accounted: this includes dreams, oracles, &c. All these ways must be probable; for however neceffary the marvellous is to the Epic Action, as nothing is fo conducive to admiration; yet we can, on the other hand, admire nothing, that we think impoffible. Though the probability of these machines be of a very large extent, (fince it is founded upon Divine Power) it is not without limitations. There are numerous inftances of allowable and probable machines in the Epic Poem, where the Gods are no lefs actors than the men. But the lefs credible fort, such as metamorphofes, &c. are far more rare. This fuggefts a reflection on the method of rendering thofe machines probable, which in their own nature are hardly fo. Thofe, which require only divine probability, fhould be fo difengaged from the action, that one might fubtract them from it, without deftroying the action. But thofe, which are effential and neceffary, fhould be grounded upon human probability, and not on the fole power of God. Thus the epifodes of Circe, the Syrens, Polyphemus, &c. are neceffary to the ac tion of the Odyffey, and yet not humanly probable: yet Homer has artificially reduced them to human probability, by the fimplicity and ignorance of the Phæacians, before whom he cauíes thofe recitals to be made. 66 The next question is, Where, and on what occafions, machines may be used? It is certain Homer and Virgil make ufe of them every where, and scarce fuffer any action to be performed without them. Petronius makes this a precept: "Perambages, deorumque minifteria, &c." The Gods are mentioned in the very propofition of their works, the invocation is addreft to them, and the whole narration is full of them. The Gods are the caufes of the action, they form the intrigue, and bring about the folution. The precept of Ariftotle and Horace, that the unravelling of the plot fhould not proceed from a miracle, or the appearance of a God, has place only in Dramatic Poetry, not in the Epic. For it is plain, that both in the folution of the Iliad and Odyffey, the Gods are concerned in the former, the deities meet to appease the anger of Achilles: Iris and Mercury are fent to that purpose, and Minerva eminently affifts Achilles in the decisive combat with Hector. In the Odyffey, the fame Goddess fights clofe by Ulyffes against the fuitors, and concludes that peace betwixt him and the Ithacenfians, which completes the poem. We may therefore determine, that a machine is not an invention to extricate the poet out of any difficulty which embarraffes him: but that the prefence of a Divinity, and fome action furprifing and extraordinary, and inferted into almost all the parts of the work, in order to render it more majestic and more admirable. But this mixture ought to be fo made, that the machines might be retrenched, without taking any thing from the action: at the fame time that it gives the readers a leffon of piety and virtue; and teaches them, that the moft brave and the most wife can do nothing, and attain nothing great and glorious, without the affiftance of heaven. Thus the machinery crowns the whole work, and renders it at once marvellous, probable, and moral. POPE'S HOMER'S ODYSSEY. воок І. THE ARGUMENT. Minerva's Defcent to Ithaca. The poem opens within forty-eight days of the arrival of Ulyffes in his dominions. He had now remained feven years in the island of Calypfo, when the Gods affembled in council proposed the method of his departure from thence, and his return to his rative country. For this purpose it is concluded to fend Mercury to Calypfo, and Pallas immediately descends to Ithaca. She holds a conference with Telemachus, in the thape of Mentes, king of the Taphians; in which the advises him to take a journey in queft of his father Ulyffes, to Pylos and Sparta, where Neftor and Menelaus yet reigned: then, after having vifibly difplayed her divinity, difappears. The fuitors of Penelope make great entertainments, and riot in her palace till night. Phemius fings to them the return of the Grecians, till Penelope puts a top to the fong. Some words arife between the fuitors and Telemachus, who fummons the council to meet the day following. THE man, for wifdom's various arts renown'd, Now at their native realms the Greeks arriv'd; Perverse mankind! whofe wills, created free, Charge all their woes on abfolute decree; All to the dooming Gods their guilt tranflate, And follies are mifcall'd the crimes of fate. When to his luft Egyfthus gave the rein, Did fate, or we, th` adulterous act constrain? Did Fate, or we, when great Atrides dy'd, Urge the bold traitor to the regicide? Hermes I fent, while yet his foul remain'd Sincere from royal blood, and faith profan'd; To warn the wretch, that young Oreftes, grown To manly years, fhould re-affert the throne. Yet, impotent of mind, and uncontrol'd, He plung'd into the gulf which heaven foretold. Here paus'd the God; and penfive thus replies Minerva, graceful with her azure eyes: O thou! from whom the whole creation fprings, The fource of power on earth deriv'd to kings! His death was equal to the direful deed; So may the man of blood be doom'd to bleed! But grief and rage alternate wound my breast, For brave Ulyffes, ftill by Fate oppreft. Amidst an ifle, around whofe rocky shore The forefts murmur, and the furges roar, The blameless hero from his wifh'd-for home A goddess guards in her inchanted dome : (Atlas her fire, to whofe far-piercing eye The wonders of the deep expanded lie; Th' eternal columns which on earth he rears End in the starry vault, and prop the fpheres.) By his fair daughter is the chief confin'd, Who foothes to dear delight his anxious mind: Succefslefs all her foft careffes prove, To banish from his breaft his country's love; And will Omnipotence neglect to fave Muft he, whofe altars on the Phrygian fhore (Reply'd the Thunderer to the martial maid) Father and king ador'd! Minerva cry'd, Tis mine to form his green unpractis'd years, She faid: the fandals of celestial mould, Fledg'd with anbrofial plumes, and rich with gold, Surround her feet; with thefe fublime the fails Divining of their loves. Attending nigh Now, imag'd in his mind, he fees reftor'd Thus affable and mild, the prince precedes, They wash. The tables in fair order spread, The rage of hunger quell'd, they all advance, wire: Phemius, whofe voice divine could sweetest fing High ftrains, refponfive to the vocal firing. Mean while, in whispers to his heavenly guest His indignation thus the prince expreft: Indulge my rifing grief, whilst these (my friend) With long and dance the pompous revel end. Light is the dance, and doubly sweet the lays, When for the dear delight another pays, His treasur'd ftores thefe cormorants confume, Whose bones, defrauded of a regal tomb And common turf, lie naked on the plain, A duteous people, and industrious isle, To me, no feer, th' infpiring Gods fuggeft; Troy; But, parting then for that detefted fhore, Our eyes, unhappy! never greeted more. To prove a genuine birth (the prince replies) Happier the fon, whofe hoary fire is bleft New to his friends' embrace, had breath'd his His praife, eternal on the faithful stone, Vanish'd at once unheard-of and unknown! Nor for a dear, loft father only flow The filial tears, but woe fucceeds to woe: To tempt the spouseless queen with amorous wiles, Refort the nobles from the neighbouring ifles; With tender pity touch'd, the Goddess cried; 1 |