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of being, at once, an epic poem, and a narrative of a maritime expedition. This merit is wanting, to the wanderings of Eneas in Virgil.—When the Roman wished for a voyage, to embellish his poem, he was obliged to introduce it, as an episode. This gave it a subordinate character, and not only deprived it of part of its interest, but also confined the author, on account of the small space, which he was able to afford it, to a more comprest and dry detail of circumstances. Here, he has shown himself inferior to Apollonius, in fertility of invention. He has borrowed much more from Homer; and his adventures and incidents show less fancy, less originality, and excite a less powerful interest, than those in the Argonautics. At the same time, we cannot but admire the address of Virgil, in chusing for himself a subject, so applicable to Roman history, and, at the same time, contriving to bring, within the compass of his poem, the most illustrious portion of the heroic Grecian story; and, also, that precise particular point of it, which exhibited, in the shortest space of time possible, an immense display of noble atchievements, of memorable events, and of marvellous changes, in the affairs of Greece, of Asia, and Italy. This was the period, when the seas-beyond Sicily began to be frequented by the Greeks; and the mariners, who returned from these voyages, circulated a variety of stories, concerning the wonderful things, they had seen and heard.-The choice of this period also, afforded another peculiar advantage to Virgil, whose forte lay in an imitation, performed with such exquisite taste and judgment, that, in his hands, it became originality; an imitation, by which he most completely made his own, and transmuted into gold, the crude and rough materials, furnished by preceding poets. -He found more materials collected, and ready to his

hand,

hand, fit to be employed, in the construction of a poem, on the period, which he actually selected, than he would have obtained, had any other part of ancient story been the object of his choice.

Not only the wanderings of Ulysses, but also the voyages and adventures of the rest of the heroes, who returned from Troy, were celebrated, in a variety of poems, which were called Noço. The affairs of

Troy, subsequent to the close of the Iliad, had been treated by a variety of poets, called cyclic writers. The Greek and Latin tragic muses had been abundantly occupied, by the fates and fortunes of the Greek and Trojan heroes and heroines.--The curious reader will find much learning on this subject, collected by professor Heyne, and an ample enumeration of writers, and productions, epic, dramatic, and historical; from which, it is probable, that the Mantuan poet derived much assistance.-From the Greek tragedy, especially from the pathetic Euripides, it should seem, that he not only drew many incidents, but imbibed much of his pathos, his grandeur, the importance of his reflections, and learned to give the dramatic form, to many parts of his divine poem-spirat tragicum satis.-This may be seen, in the artful speeches of Sinon, in the beautiful and tender episode of Andromache and Helenus, in the miserable state of Achæmenides, in the impassioned character, and tender feelings of Dido, the fury of Amata, the beautiful episode of Nisus and Euryalus, the delightful picture of Pallas and Evander, so finely grouped and contrasted, with that of Lausus and Mezentius. In these, and many other passages, we see how Virgil has availed himself, of the example of the tragedians; and studied to unfold the workings of pas

* See Heyne, first essay, Æneid. Book II.

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sion, and call out all the affections of the heart. this topic belongs, more properly, to another part of this essay.

We find both Apollonius and Virgil delighted much in oracular warnings, in obscure and dark predictions, in allusions to the future, unintelligible at the moment, and to be unravelled by succeeding events, like the responses of the Pythoness. It is not surprising, that these two admirable poets should have agreed, in making this striking use of predictions, to carry on the actions of their poems. Their exquisite judgment directed them to this expedient, as the means of communicating an extraordinary degree of interest to the fable, of conferring on it grandeur and importance, a solemnity and religious awe, of introducing the reader, as it were, into sacred groves, and gloomy sanctuaries, of awaking the attention, and stimulating the curiosity. The place of his birth, and the course of his studies, predisposed Apollonius, to the adoption of this kind of machinery. Egypt, as I have already remarked, might be considered, as the head-quarters of gloomy, profound, and awful superstitions, the chosen seat of judicial astrology, and the occult sciences. Her hieroglyphics, her religious rites, her public monuments, were all calculated, to excite sentiments of fanatic enthusiasm, and a tendency to the superstious, the mysterious, and the wonderful. As Apollonius was deeply skilled in all the learning of the Egyptians, it is not improbable, that a perusal of the Scriptures, which abound in prophetic passages, exprest with a kind of poetic fury, and dark sublimity, might have had a considerable effect, and contributed to form, or encrease this fondness for prediction.

Somewhat similar and analogous to this device, is the introduction of visions, which, by a shadowy typification of events, conveyed a partial knowledge of the future, sufficient

to rouse, but not to satisfy, the curiosity of the reader. Here, again, the Alexandrine poet might have been indebted to the Scriptures. Be that as it may, he has introduced visions, of singular beauty and effect, conceived with great strength of fancy, in all the sublime spirit, of oriental poetry.-The whole enterprise of the Argonauts is originated, from the oracle, that designates obscurely a certain person, who is fated to destroy Pe lias-Chance fixes the suspicions of the tyrant on Jason, who is, in consequence of this, dispatched on a most perilous mission.-Jason constantly refers to the oracles of Phebus, and supports the courage of his comrades, in dangers, and difficulties, by reminding them of the assurances of divine support, which he had received from Apollo.-The apparition and prophecy of Glaucus, in the first book, have a critical influence, in composing the differences of the heroes, and reconciling them, to the loss of Hercules. How interesting

and pathetic, is the prediction of the gallant Idmon, foretelling his own untimely fate!How beautiful is the omen of the halcyon sweeping round and round, and perching on the vane of the ship, as Jason lies asleep! Not inferior is that of the dove, escaping from the hawk, and taking refuge in the bosom of the hero; which naturally directs him, to look towards the queen of love, to whom the bird was sacred, for favour and protection, The warning precepts introduced, with such oracular solemnity, by the venerable and interesting Phineus, powerfully excite the affection of the reader; and prepare him for the catastrophe, without too much anticipation of the event.-The portent, of the horse of Neptune springing from the waves, and coursing over the sands of Lybia, to direct the perplexed Argonauts, how to shape their course, over that trackless desert, is nobly conceived, and aptly introduced,

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by the preceding prophecy of the heroines, or Atlantic nymphs, who partly reveal the truth, partly involve it, in types, and figures, and ambiguous sayings. And the warning foretaste of the future, given in visions, is introduced by the poet, with equal happiness, and effect, and described, with equal genius and sublimity.

Virgil, who had studied Apollonius, not merely with care, but with filial veneration; who had also, in his hands, the Sibylline oracles, and who had cultivated the natural enthusiasm of a poetical genius, by an intimate acquaintance with the Platonic philosophy, filled, as it is, with a sort of religious enthusiasm, and ardent mysticism, perceived this turn of writing with a natural predilection, and his admirable judgment soon pointed out, the striking use, to which it might be applied in poetry. He observed, that the prophetic denunciation of future events, has a wonderful power of affecting the mind. The desire of penetrating into the future, seems to be implanted in man. The doubt and uncertainty, which hang about oracular predictions, and the wakeful expectation, which they excite, become the means of acting on the passions.-The sublimely obscure terms, the dark and pregnant brevity, in which these divine communications are usually conceived, are susceptible of the highest poetical grandeur; and fill the reader with a sort of holy horror.

I have observed, that the use of mystical agency, and religious device, was highly in character, with respect to Apollonius, considering the country, in which he lived, and the education he had received; the same was the case with respect to Virgil. The Roman poet, as professor Heyne observes, lived in an age, when all the world was captivated with a strange fondness, for oracles and predictions; so that nothing could be more grateful, to the predominant taste of the gene

rality,

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