low that I ought to have some rule over the actions of men, and yet no one is ready to submit his actions to my control. Some think that my authority in the world is very proper, to restrain the wicked and licentious; but as for themselves, they can do very well without me. Others pretend that I am only a fit companion for the poor, the friendless, and the afflicted. To such indeed I am the happy messenger of peace and consolation; but in the end it will be found that such consolation is equally necessary to the rich and prosperous.

RELIGION.

No. XXV....SATURDAY, OCTOBER 24, 1814.

THERE has been much jealousy among modern nations with regard to their poets. The Epic is usually considered as the highest stretch of human genius and ingenuity, therefore each nation has contended for the honor of having produced the most perfect model of this species of writing. Tasso, Milton, Cainoens, Voltaire, and Klopstock, have had their several advocates, and the countries to which they belong, have successively claimed the palm of victory in this literary contest. Nay, some of them go so far as to arrogate the superiority over Greece and Rome, and boldly snatch the laurel from the brows of Homer and Virgil, to grace the temples of a bard of modern times. In an edition of the Italian poets, the editor says, "Che il Tasso afferro l' epicò con minori diffetti de'suoi emoli, antichi e novi, e voul dire, con maggior perfezione di tutti." He allows however that Virgil alone would have surpassed him, if he had taken sufficient time and pains in correcting the great poem of the Eneid. And the French author Palissot (who, in his book of "des Hommes celebres," has not forgotten to give his own name a place,) remarks of the Hen

stances, compare this last with the Gerusalemme berata of Tasso; and where the same subject is trea of in each, they are surely susceptible of a fair com rison.

Milton's devils are always sublime; so much so t he has been complained of for the dignity he has c tinued to these once celestial inhabitants, after t had fallen. But Tasso has no respect for them, does not fail to represent them as hideous and gusting.

Oh come strane, oh come orribil' forme!
Quant' e ne gli occhj lor terrore e morte!
Stampano alcuni il soul di ferine orme
E'n fronte umana an chiome d'angui attorte
E lor s'aggira dietro immense coda
Che quasi sferza si ripiego e snoda.

And again,

Orrida maesta' nel fero aspetto
Terrore accresce, e piu superbo il rendo
Rosseggian gli occhj; e di veneno infetto
Come infausta cometa il guardo splende
Gl' involte il mento, e su l'irsuto petto
Ispida e folto la gran barba scende
E in guisa di voragine profonda
S'apre la bocca d'atro sangue immonda.

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Such images are far beneath Milton's Satan, who

above the rest

In shape and gesture proudly eminent,
Stood like a tower; his form had not yet lost

All her original brightness, nor appear'd

Less than archangel ruined; and th' excess

Of glory obscured; as when the sun new ris'n
Looks through the horizontal misty air

Shorn of his beams.

It is the mind in Milton's devils that is hideous; and in this repect they are sufficiently diabolical; but to represent them with tails and thick bristly beards, and as vomiting blood, may create disgust, though it does not make us tremble.

Lord Kaims, in his Elements of Criticism, has given some instances wherein Tasso degenerates into quaint antithesis and low conceits, when he attempts to delineate passion; and in comparing him with Milton, where love is the subject of both, it will be found that he is very faulty in this respect, whilst the English bard is always tender and conformable to nature. In the conversations between Adam and Eve, we have the purest sentiments of love, expressed with great simplicity, in the most soft and affectionate terms. Even in the anguish of his soul, when Eve had incurred the curse of death by eating the forbidden fruit, Adam's distress is natural, and the dignity of his character is preserved by the most appropriate language through the whole of this afflicting scene. An equally distressing scene may be found in the Gerusalemme Liberata, where Olindo and Sofronia are to be burnt. at the stake. But mark what different ideas the situation inspires, according to Tasso; Olindo addresses his lovely partner in distress, in puns

Questo dunque e quel laccio ond' io sperai
Teco accoppiarmi in compagnia di vita?
Questo e quel foco ch'io credea che i cori
Ne dovesse infiam mar d'eguali ardori?

Canto 2d, stanza 3d.

I HAVE often thought that the class of women are usually denominated old maids, instead of the proach which this term is generally meant to con have a considerable claim to merit, and are really serving of approbation and applause.

In the early ages of the world, when the earth wa ed inhabitants, it might be a grievous complaint no be able to raise up children, to people and cultivate But why at this late period, when the human race h multiplied to such an inconvenient excess, as that terminating wars are necessary to thin their crow ranks, we should consider it disgraceful to die with descendants, is a sort of paradox which I am not suist enough to explain.

In China, it is said, that the population is so mense, that the women throw their children into canals, because they will not be encumbered w more than they can support. In such a state, it wo surely be more honorable to live an old maid, th voluntarily to expose one's self to such a wretch and unhappy alternative.

If it were really a moral or religious duty, for ev female to be married, as it is to be honest or to christened, we could then account for the stigma wh attaches to a single life, and for the consequent eag

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ness, in some, to avoid the penalty of violating such an obligation. Or if it was invariably true that every woman, who had sufficient charms to engage a lover, was always ready to accept of his hand, as soon as it was offered; if no one ever refused to enter the Temple of Hymen, when the gates were ready open to receive her, it might be supposed, that the few who linger round the walls, are undeserving the favors of love, and were of those foolish virgins who had not kept their lamps trimmed and burning. But we know that this is not the case. There are many fine women, who have trod the walks of life alone, and probably with more pleasure and satisfaction to themselves, than if with partners and connexions, with whom they must have shared their "bliss or woe."

As we ought not to suppose, that the whole business of a woman is to endeavor to get married, we have no right to consider those who escape, as failing in their enterprize, and therefore as incurring the disgrace of a defeat.

Many not only very amiable, but sensible and desirable women never enter the bonds of matrimony; and, among my acquaintance, there are several who are highly respected and esteemed as being old maids from principle. They have perhaps no unconquerable objections to the marriage state, but only have not preferred it, at the hazard of their peace of mind, or the sacrifice of their affections. They have not been willing to unite themselves to a man of bad character, or of no character at all; and had rather retain their own responsibility and happiness, by living in "single blessedness," than to marry a man incautiously, whose vices might disgrace them, or whose ill-humor might often pledge them in a cup of sorrow.

Having received a letter from a sensible and agreeable old maid, who treats this subject very much in the same light in which I have been accustomed to view it, I shall give it a place, entire, in this paper.