fewer negligences, greater variety, and more dignity. The Eneid has all the correctness and improvements of the Augustan age. We meet no contention of heroes about a female slave no violent scolding, nor abusive language; but the poem opens with the utmost magnificence.

The subject of the Eneid, which is the establishment of Eneas in Italy, is extremely happy. Nothing could be more interesting to the Romans, than Virgil's deriving their origin from so famous a hero as Eneas. The object was splendid itself; it gave the poet a theme, taken from the traditionary history of his country; it allowed him to adopt Homer's mythology; and afforded him frequent opportunities of glancing at all the future great exploits of the Romans, and of describing Italy in its ancient and fabulous state.

Unity of action is perfectly preserved in the Eneid. The settlement of Eneas in Italy by order of the gods, is constantly kept in view. The episodes are properly linked to the main subject; and the nodus or intrigue of the poem is happily formed. The wrath of Juno, who opposes Eneas, gives rise to all his difficulties, and connects the human with the celestial operations, through the whole poem.

Great art and judgment are displayed in the Eneid; but even Virgil is not without his faults. One is, that he has so few marked characters, Achates, Cloanthes, Gyas, and other Trojan heroes, who accompanied Eneas into Italy, are undistinguished figures. Even Eneas himself is not a very interesting hero. He is described, Indeed, as pious and brave; but his character is

not marked by those strokes that touch the heart. The character of Dido is the best supported in the whole Eneid. Her warmth of passion, keenness of resentment, and violence of character, exhibit a more animated figure than any other, Virgil has drawn.

The management of the subject, also, is in some respects exceptionable. The six last books received not the finishing hand of the author; and, for this reason, he ordered his poem to be committed to the flames. The wars with the Latins are in dignity inferior to the more interesting objects previously presented to us; and the reader is tempted to take part with Turnus against Eneas.

The principal excellency of Virgil, and what he possesses beyond all poets, is tenderness. His soul was full of sensibility. He felt himself. all the affecting circumstances in the scenes he describes; and knew how, by a single stroke, to reach the heart. In an epic poem, this merit is next to sublimity. The second book of the Eneid, is one of the greatest master pieces ever executed. The death of old Priam, and the family pieces of Eneas, Anchises, and Creusa, are as tender as can be conceived. In the fourth book, the unhappy passion and death of Dido are admirable. The interview of Eneas with Andromache and Helenus, in the third book; the episodes of Pallas and Evander, of Nisus and Euryalus, of Lausus and Mezentius, are all striking instances of the power, of raising the tender emotions. The best and most finished books are the first, second, fourth, sixth, seventh, eighth, and twelfth.

Virgil's battles are in fire and sublimity, far inferior to Homer's. But in one important episode, the descent into bell he has outdone Homer in the Odyssey, by many dégrées. There is nothing in all antiquity, equal in its kind to the sixth book of the Eneid. The scenery, the objects, and the description are great, solemn and sublime.

With regard to the comparative merit of these two great princes of epic poetry, it must be allowed that Homer was the greater genius, and Virgil the more correct writer. Homer

is more original, more bold, more sublime, and more forcible. In Judgment they are both eminent. Homer bas all the Greek vivacity; Virgil all the Roman stateliness. The imagination of Homer is the most copious; that of Virgil the most correct. The strength of the former lies in warming the fancy; that of the latter in touching the heart. Homer's style is more simple and animated; Virgil's more elegant and uniform.

LUCAN'S PHARSALIA.

LUCAN is inferior to Homer and Virgil; yet he deserves attention. There is little invention in his Pharsalia; and it is conducted in too historical a manner to be strictly epic. It may be arranged, however, in the epic class, as it treats of great and beroic adventures. The subject of the Pharsalia, has all the epic dignity and grandeur; and it possesses unity

of object, viz. the triumph of Cesar over Rowan liberty.

But, though the subject of Lucan is confessedly heroic, it has two defects. Civil wars present objects too shocking for epic poetry, and furnish odious and disgusting views of human nature. But Lucan's genius seems to delight in savage scenes.

The other defect of Lucan's subject is, that it was too near the time in which he lived. This deprived him of the assistance of fiction and machinery; and thereby rendered his work less splendid and amusing. The facts, on which he founds his poem, were too well known, and too recent, to admit fables and the interposition of gods.

The characters of Lucan are drawn with spirit and force. But, though Pompey is his hero, he has not made him very interesting. He marks not Pompey by any high distinction, either for magnanimity or valor. He is always surpassed by Cesar. Cato, is Lucan's favorite character; and, whenever he introduces him, he rises above himself.

In managing his story, Lucan confines bimself too much to chronological order. This breaks the thread of his narration, and hurries him from place to place. He is also too digres sive; frequently quitting his subject, to give us some geographical description, or philo sophical disquisition.

There are several poetical and spirited descriptions in the Pharsalia; but the strength of this poet does not lie either in narration or description. His narration is often dry and harsh;

his descriptions are often overwrought, and employed on disagreeable objects. His chief merit consists in his sentiments; which are noble, striking, glowing, and ardent. He is the most philosophical, and the most patriotic poet of antiquity. He was a stoic; and the spirit of that philosophy breathes through his poem. He is elevated and bold; and abounds in well timed exclamations and apostrophes.

As his vivacity and fire are great, he is apt to be carried away by them. His great defect is want of moderation. He knows not where to stop. When he would aggrandize his objects, he becomes tumid and unnatural. There is much bombast in his poem. His taste is marked with the corruption of his age; and, instead of poetry,he often exhibits declamation. On the whole, however, he is an author of lively and original genius. His high sentiments, and his fire, serve to atone for many of his defects. His genius had strength, but no tenderness nor amenity. Compared with Virgil, he has more fire and sublimer sentiments; but in every thing else, falls infinitely below him, particularly in purity, elegance, and tenderness.

Statius, and Silius Italicus, though poets of the epic class, are too inconsiderable for particular criticism.

TASSO'S JERUSALEM.

JERUSALEM DELIVERED, is a strictly regular epic poem, and abounds with beauties.