to form the mind to compaffion, to give just apprehenfions of the uncertain state of human felicity, to fet forth the excellence of fortitude, public benevolence, and the other great virtues, and to in-' fpire a deteftation of the contrary vices. But each of these may be perverted to ferve evil purposes.

Comedy is thus abused, when it is employed to give favourable representations of vicious pursuits after pleasure, or treats with the levity of ridicule great immoralities; this is to allure men to the approbation of fome vices, and to look on others without deteftation; to perfuade the corrupt, that they may purchase at the risk of a few jefts only, the gratification of their inordinate defires, which they might poffibly think too dearly bought at the expence of the general indignation and abhorrence of mankind.

The effects of tragic reprefentations are equally mifchievous, when inftead of the calamities, to which mankind is fubject from the uncertain condition of human affairs, they prefent before us no other diftreffes, than what arife from the impetuofity of selfish defires. Though fuch weakneffes are not unnatural to particular ages and conftitutions, and within proper bounds are juft objects of compaffion; yet conftant reprefentations of this kind can only ferve to continue that infirm temper beyond those tender years, wherein only it is pardonable, and prevent that fteadiness of mind which ought to take place in a more advanced age, and that moderation towards perfonal indulgencies,

which is required to the just performance of the neceffary duties of life. Accordingly we have seen that effeminate nation, to whom we chiefly owę this corrupt tafte, long to have received the juft reward of their infamous endeavours to extirpate all manliness from the human breaft by becoming the prey of every invader, and paffing from hand to hand with as little refiftance as the cattle, which graze on their lands.

Epic poetry may also be no lefs mifapplied. Though I fhall by no means fubfcribe to the fancy of thofe, who attribute to Virgil the impious defign of affifting the eftablishment of univerfal flavery, and of flattering the founder by drawing fuch a character in his Æneas, as the poet imagined, the tyrant would be pleased with having applied to himself, and might delude his countrymen into a base acquiefcence under their new bondage.

Whereas tragic and epic poetry relate chiefly to men in high station, and comedy or fimilar narrations regard the bufy part of common life, as it is found in cities and large focieties; fo the true office of paftoral is to exprefs the cares and the amufements of the ruftic condition *. But instead of this a fpurious kind has fprung up †, wherein, however the thoughts may be confined to cattle and pastures, or other rural objects, we are plainly prefented

C 4

* Admirabilis in fuo genere Theocritus, fed mufa illa ruftica et paftoralis—urbem reformidat. Quin&t. Înftitut. Orator. 1. 10. C. I.

See M. de Fontenelle fur la nature de l'eglogue.

presented with perfons of fuperiour fortune acting in masquerade, and abandoning themselves to a languid indolence inconfiftent with the ftate, they pretend to imitate, and exceedingly immoral in perfons of high condition, of whom it is required, that their exemption from labour, the lot of other men, be repaid with fome attention to the general welfare of that public, by whofe indulgencethey enjoy their ample fortunes, and honourable titles. In fhort, these pieces, and their kindred-novels exhibit as false a picture of human affairs, as the knight-errantry and enchantments of romances; but are so much the lefs innocent follies, as it is easier for men to give themselves up to languor of mind, or the unbounded sway of perfonal defires, than to propose to fhare in the glory of the imaginary heroes of those legends.

Moft certainly all poetry is capable of the like abuse. Songs and the other leffer species of verse may be employed in inftigating the paffions towards unlawful pleasures. And fatyre, whofe office it is to caft the just contempt upon follies, and to draw the fword of a feverer indignation against more serious enormities, lofes its end, when it is turned into general invective; for then under the disguise of cenfure it in reality unites its forces with the most abandoned, whofe conftant endeavours are to represent the generality of men as corrupt as themfelves, who very well know, that to treat mankind, as univerfally vicious, is to throw the greateft difcouragement in the way of virtue by ren

dring suspected the most unexceptionable conduct, and to give the most effectual support to the cause of vice, fince the focial nature of man will ever make it certain, that in the worst of crimes

Defendet numerus, júnƐtæque umbone phalanges. However, though poetry may be rendred fubfervient to vice, yet certainly Plato is too fevere in condemning all reprefentations of great and heroic characters, that are not in every particular worthy of imitation for it is the bufinefs of the profeffed philofopher to specify exprefly, what is laudable, and what not; the only offence in poetry is to give false or partial views of human actions and paffions, and to abound with indulgent representations of fashionable or captivating vices. But it is a full reply to all objections against the art drawn from any abuse of it, that they equally affect every kind of writing whatever, wherein the interests of mankind are in any measure concerned. Even among thofe profe authors, who enter themselves in the lift of moralifts, are to be found the moft pernicious of all writers, fuch as by advancing erroneous principles, and mifrepresenting human nature make a direct attack upon the understandings of men, and without fhame openly labour to engage in favour of vice that faculty, which is given us for the fupreme judge and ruler of our defires.

* De Republ. 1. 3.

SECTION

Of the fable of epic and dramatic poems. F now it appears, that the true merit of epic and dramatic poetry confifts in exhibiting the characters of men, and the genuine effects of the several paffions; we have a certain criterion whereby to judge of the plan or fable of fuch poems. Aristotle for want of this principle was unable to give any reason at all for fome of his precepts, and was obliged to take up with very infufficient ones for others. But upon this foundation it is evident, that the chief excellence in the plot of any dramatic or epic piece confifts in fuch a difpofition of circumstances, whereby each character and paffion may moft fully, and most distinctly be fet forth. What fuperiority of invention is neceffary for this, above what is required towards contriving any chain of events, where within the limits of probability the facts fhall follow by means fo unexpected, as may excite upon the first reading or representation the most agreeable furprize, or other emotion of paffion, will be very evident upon confidering with the least attention the conduct of the Iliad, how wonderfully the multiplicity of incidents in that poem are adapted to illuftrate the characters of the feveral agents, how those characters are brought out, as it were, in turn, and diftinct parts of the poem exprefly appropriated to exhibit even feparate particulars in each, infomuch that almost

the