2 always in my apprehenfion free from error; I intend to examine into the genuine principles, whereby our opinion on works of this kind ought to be regulated, independent on any authority whatever. For this purpose I shall first inquire into the pri mary and most useful defign of epic poetry, and its great importance towards the improvement of human nature: I fhall then treat of the subject matter, and the manner wherein it ought to be handled. But the epic being the most eminent and extenfive of all poetry, a perfect judgment is not to be formed on all the parts of this without a good degree of knowledge in the other branches of the art alfo. For this reafon I fhall join dramatic poetry with the epic in my reflections, on what is common to both; and in relation to the language of poetry, as far as the brevity, I have here preferibed myfelf, will permit, I fhall confider the specific characteristic of the diction appropriated to each of the principal species. I fhall be somewhat large on the measures of verfe, this fubject, as it relates to our language, having been almost entirely neglected. In the last place, after some notice of what is more peculiar to epic poetry, I shall conclude with a short examination, wherein truly confifts that fublime, in which this kind of writing is expected to excel all others. In the prosecution of my defign I shall not only compare the writings of critics with one another, but also with the most eminent poets, especially Homer, the original of all criticism upon epic poe try, try, and acknowledged the most excellent by the univerfal fuffrage of antiquity: for according to Ariftotle, Homer, and he alone, never had failed in judgment in his art; and though Quintilian certainly wishes, that fome greater equality in his countryman Virgil might compenfate for his inferiority in other respects †; yet he is forced to asfign the Latin poet only the fecond rank, though he places him nearer the first, than any other poet to him: the giving him preference on account of avoiding some small negligencies is of modern date, the effect of narrowness of mind, of a genius confined within the circle of fuch trifles, and unqualified to difcern the juft preheminence due to the fupreme excellencies. Όμηρος δὲ ἄλλα τε πολλὰ ἄξιΘ· ἐπαινεῖσθαι, δὴ καὶ ὅτι μίνΘ τῶν ποιητῶν ἐκ ἀγνοεῖ, ὁ δεῖ ποιεῖν auto. Poet. c. 24. + Quantum eminentioribus vincimur, fortaffe æquali tate penfamus. Inftit. Orat. 1. 10. c. 1. Secundus eft Virgilius, propiar tamen primo, quan #ertio. Ibid. B 2 SECTION SECTION I. Of the nature and primary intention of AS poetry has at all times been employed to fing the exploits of great and worthy men; upon this was formed the scheme of that fpecies called the epic, wherein is framed on the names of paft heroes, and fome action, in which they had been engaged, a fabulous narration embelished with thofe numerous and extended circumstances, which left it impoffible to be confidered, as in any measure intended for a true hiftory of fuch a fact; being indeed a moral compofition to represent the good and ill effects of different characters and paffions. Afterwards, in thofe mufical and poetic entertainments, which in Greece were exhibited at public feftivals, they introduced in pursuance of this example a direct imitation of feigned actions, either of a public or private nature. And the first of these were most usually, like the epic narrations, grounded on fome historical relation; but in the latter the whole foundation of the action was generally feigned. This latter, called comedy, was originally confined to fubjects of ridicule and humour in imitation of a narrative poem of Homer in the fame kind *, but at length was employed in genteeler representations of private life. And tho' * Margites, now loft. the the earliest compofitions of the other kind, called tragedy, were formed on fome paft tranfaction of great and known perfonages; yet afterwards, as we learn from Ariftotle *, and fee by many modern examples, it extended itself to other serious and important actions totally fictitious. In affigning the primary intention of epic and dramatic poetry to be the representation of the different characters of men, and the effects of their feveral paffions; I fhall poffibly be thought not to have paid a due regard to the decrees of Ariftotle, who exprefly says of tragedy (intending the fame to be understood of epic poetry also †) that of all the parts, of which it confifts, the fable is the most important ||; that tragedy is not an imitation of men, but of actions, of life, of good, and of bad fortune; that the action is not framed for the setting forth of characters, but that characters are affumed for Β 3 * Οὐ μὴν ἀλλὰ καὶ ἐν ταῖς τραγῳδίαις, ἐνίαις μὲν ἓν ἢ δύω 7 γνωρίμων ἐςὶν ὀνομάτων, τὰ δὲ ἄλλα πε મે ποιημένα, εν ενίαις δὲ ἐθέν, οἷον ἐν τῷ Αγάπων Αν θει. Ομοίως γδ ἐν τέτῳ τά τε πράγματα, καὶ τὰ ὀνόματα πεποίηται. Poet. c. 9. † ὅσις περὶ τραγῳδίας οἶδε σπεδαίας καὶ φαύλης, οἶδε καὶ περὶ ἔπων. Ibid. c. 5. || Μέγισον δὲ τέτων ἐςὶν ἡ τῶν πραγμάτων σύςασις (i.ε. μῦθο-Λέγω γὰρ μῦθον τότον τὴν σύνθεσιν τῶν πραγμάτων.) Ibid. c. 6. † Ἡ γὰρ τραγωδία μίμησίς ἐσιν ἐκ ἀνθρώπων, ἀλλὰ πράξεων, καὶ βίο, καὶ εὐδαιμονίας, καὶ κακοδαι μονίας. Ibid. for the fake of the aftion *. His reafons are, that character being a quality cannot be the end of tragedy, for the end must be an action; and the end is in every thing of chief importance +: That tragedy may be destitute of character, though it cannot be without action : nay, he would perfuade us, that the fable is more difficult to execute with fuccefs, than the reprefentation of characters, because the firft poets have been generally more deficient in this, than in the other t. Upon which foundation he is very large in difcuffing, what kind of fable is to be preferved, whether the fimple, or the implex, and by what circumstances the latter fhould be involved, confidering all these points independently of the characters of the perfonages engaged in the action. AFTER Οὐκ ὅπως τὰ ἤθη μιμήσωνται [ fc. porta] πράτΠεσιν· ἀλλὰ τὰ ἤθη συμπεριλαμβάνουσιν δια τας πρά ξεις. Ibid. Vidtorius in his comment on this paflage understands by it, that men do not act in life to fhew their characters; but join fome character to their ac tions. Though the word μιμήσωνται, imitate, muft refer to the poet, and thus Caftelvetro, and other interpreters render the place. † τὸ τέλΘ πράξις τίς ἐςιν, ἢ ποιότης. Εἰεὶ δὲ κατὰ μὲν τὰ ἤθη ποιοί τινες-Ωςε τὰ πράγματα καὶ ὁ μύθο τέλΘ- ε τραγῳδίας. Τὸ δὲ τέλΘ μέγισον ἁπάντων εςίν. Ibid. || *Ανευ μὲν γὰρ πράξεως ἐκ αν γένοιτο τραγῳδία, ἄνευ δὲ ἠθῶν γένοιτ' ἂν. Ibid. † οἱ ἐγχειρέντες ποιεῖν πρότερον δύνανται τῇ λέξει καὶ τοῖς ἤθεσιν ἀκριβῖν, ἢ τὰ πράγματα συνίσασθαι, οἷον καὶ οἱ πρῶτοι ποιηταὶ χεδὸν ἅπαντες. Ibid. |