A Grammar of Rhetoric, and Polite Literature

able 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 Æneid.

Illus. 1. The plain account of the nature of an epic poem is, the recital of some illustrious enterprise in a poetical form. This is an exact definition of 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.

2. 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.

3. Criticism, when employed in such attempts, degenerates into trifling questions about words and names only.

4. The most competent judges, therefore, have no scruple to class such poems as Milton's Paradise Lost, Lucan's Pharsalia, Statius's Thebaid, Ossian's Fingal and Temora, Camoens' Lusiad, Voltaire's Henriade, Fenelon's Telemachus, Glover's Leonidas, and Wilkie's Epigoniad, under the same species of composition with the Iliad and the Eneid; 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. (Illus. 1.)

5. The end which epic poetry proposes, is to extend our ideas of human perfection; or, in other 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.

6. In behalf of virtuous personages, our affections are engaged; in their designs, and their distresses, we are interested; the generous and public affections are awakened; the mind is purified from sensual and mean pursuits, and accustomed to take part in great, heroic enterprises. It is, indeed, no small testimony in honour of virtue, that several of the most refined and elegant entertainments of mankind, such as that species of poetical composition which we now consider, must be grounded on moral sentiments and impressions. This is a testimony of such weight, that, were it in the power of sceptical philosophers, to weaken the force of those reasonings which establish the

essential distinctions between vice and virtue, the writings of epic poets alone were sufficient to refute their false philosophy; shewing, by that appeal which they constantly make to the feelings of mankind in favour of virtue, that the foundations of it are laid deep and strong in human nature.

596. The general strain and spirit of epic composition, sufficiently mark its distinction from the other kinds of poetry.

Illus. 1. In pastoral writing, the reigning idea is innocence and tranquillity. Compassion is the great object of tragedy; ridicule the province of comedy. The predominant character of the epic is, admiration excited by heroic actions.

2. It is sufficiently distinguished from history, both by its poetical form, and the liberty of fiction which it assumes. It is a more calm composition than tragedy. It admits, nay, requires, the pathetic and the violent, on particular occasions; but the pathetic is not expected to be its general character. It requires, more than any other species of poetry, a grave, equal, and supported dignity.

3. It takes in a greater compass of time and action, than dramatic writing admits; and thereby allows a more full display of characters. Dramatic writings display characters chiefly by means of sentiments and passions; epic poetry, chiefly by means of actions. The emotions, therefore, which it raises, are not so violent, but they are more prolonged.

Obs. These are the general characteristics of this species of composition. But, in order to give a more particular and critical view of it, let us consider the epic poem under three heads; first, with respect to the subject, or action; secondly, with respect to the actors, or characters; and, lastly, with respect to the narration of the poet.

597. The action, or subject of the epic poem, must have three qualifications: it must be one; it must be great; it must be interesting.

Illus. 1. First, it must be one action, or enterprise, which the poet chooses for his subject.

Example 1. In all the great epic poems, unity of action is sufficiently apparent. Virgil, for instance, has chosen for his subject, the establishment of Æneas in Italy. From the beginning to the end of the poem, this object is ever in our view, and links all the parts of it together with full connection. The unity of the Odyssey is of the same nature; the return and re-establishment of Ulysses in his own country. The subject of Tasso is the recovery of Jerusalem from the Infidels; that of Milton, the expulsion of our first parents from Paradise; and both of them are unexceptionable in the unity of the story.

2. The professed subject of the Iliad, is the anger of Achilles, with the consequences which it produced. The Greeks carry on many unsuccessful engagements against the Trojans, as long as they are deprived of the assistance of Achilles. Upon his being appeased and reconciled to Agamemnon, victory follows, and the poem closes.

Analysis. It must be owned, however, that the unity, or connecting principle, is not quite so sensible to the imagination here, as in the Æneid. For, throughout many books of the Iliad, Achilles is out of

able 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 Æneid.

Illus. 1. The plain account of the nature of an epic poem is, the recital of some illustrious enterprise in a poetical form. This is an exact definition of this subject. It comprehends several other poems, besides the Iliad of Homer, the Eneid 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.