gradual refinement in the opinions of men, concerning a future state of rewards and punishments. Homer's descent of Ulyssis into hell, is indistinct and dreary. The scene is in the

country of the Cimmerians, which is always covered with clouds and darkness; and when the spirits of the dead appear, we hardly know whether Ulysses is above or below ground. The ghosts too, even of the heroes, appear dissatisfied with their condition.

In Virgil, the descent into hell discovers great refinement, corresponding to the progress of philosophy. The objects are more distinct, grand,and awful. There is a fine description of the separate mansions of good and bad spirits. Fenelon's visit of Telemachus to the shades, is still much more philosophical than Virgil's. He refines the ancient mythology by his knowledge of the true religion, and adorns it with that beautiful enthusiasm, for which he is so remarkable. His relation of the happiness of the just is an excellent description in the mystic strain.

THE HENRIADE OF VOLTAIRE.

THE Henriade is, without doubt, a regular epic poem. In several places of this work, Voltaire discovers that boldness of conception, that vivacity and liveliness of expression, by which he is so much distinguished. Several of his comparisons are new and happy. But the

Henriade is not his masterpiece. In the tragic line he has certainly been more successful, than in the epic. French versification is illy suited to epic poetry. It is not only fettered by rhyme, but wants elevation. Hence, not only feebleness, but sometimes prosaic flatness in the style. The poem consequently languishes, and the reader is not animated by that spirit which is inspired by a sublime composition of the epic kind.

The triumph of Henry IV. over the arms of the League, is the subject of the Henriade. The action of the poem properly includes only the siege of Paris. It is an action perfectly epic; and conducted with due regard to unity, and to the rules of critics. But it has great defects. It is founded on civil wars; and presents to the mind those odious objects, massacres and assassinations. It is also of too recent date, and too much within the bounds of well known history. The author has farther erred by mixing fiction with truth. The poem, for instance, opens with a voyage of Henry's to England, and an interview between him and Queen Elizabeth; though Henry never saw England, nor ever conversed with Elizabeth. In subjects of such notoriety, a fiction of this kind shocks every intelligent reader.

A great deal of machinery is employed by Voltaire, for the purpose of embellishing his poem. But it is of the worst kind, that of allegorical beings Discord, cunning, and love, appear as personages, and mix with human actors. This is contrary to all rational criti

cism. Ghosts, angels, and devils, have a popular existence; but every one knows that allegorical beings are no more than representations of human passions and dispositions; and ought not to have place, as actors, in a poem which relates to human transactions.

In justice, however, it must be observed, that the machinery of St. Louis possesses real dignity. The prospect of the invisible world, which St. Louis gives to Henry in a dream, is the finest passage in the Henriade. Death bringing the souls of the departed in succession before God, and the place of the destinies opened to Henry, are striking and magnificent objects.

Though some of Voltaire's episodes are properly extended, his narration is too general. The events are superficially related, and too much crowded. The strain of sentiment, however, which pervades the Henriade, is high and noble.

MILTON'S PARADISE LOST.

MILTON chalked out a new and very extraordinary course. As soon as we open his Paradise lost, we are introduced into an invisible world, and surrounded by celestial and infernal beings. Angels and devils are not his machinery, but his principal actors. What in any other work would be the marvellous, is in this the natural course of events; and doubts may arise, whether his poem be strictly an epic

composition. But whether it be so or not, it is certainly one of the highest efforts of poetical genius; and in one great characteristic of epic poetry, majesty and sublimity, is equal to any that bears this name.

The subject of his poem led Milton upon difficult ground. If it had been more human and less theological; if his occurrences had been more connected with real life; if he had afforded a greater display of the characters and passions of men; his poem would have been more pleasing to most readers. His subject, however, was peculiarly suited to the daring sublimity of his genius. As he alone was fitted for it, so he has shown in the conduct of it a wonderful stretch of imagination and invention. From a few hints, given in the Sacred Scriptures, he has raised a regular structure, and filled his poem with a variety of incidents. He is sometimes dry and harsh; and too often the metaphysician and divine. But the general tenor of his work is interesting, elevated, and affecting. The artful change of his objects, and the scene, laid now in heaven, now on earth, and now in hell, afford sufficient diversity; while unity of plan is perfectly supported. Calm scenes are exhibited in the employments of Adam and Eve, in Paradise; and busy scenes, and great actions in the enterprises of Satan, and in the wars of angels. The amiable innocence of our First Parents, and the proud ambition of Satan, afford a happy contrast through the whole poem, which gives it an uncommon charm. But the conclusion perhaps is too tragic for epic poetry.

The subject naturally admits no great display of characters; but such, as could be introduced, are properly supported. Satan makes a striking figure; and is the best drawn character in the poem. Milton has artfully given him a mixed character, not altogether void of some good qualities. He is brave,and faithful to his troops. Amid his impiety he is not without remorse. He is even touched with pity for our First Parents; and from the necessity of his situation justifies his design against them. He is actuated by ambition and resentment, rather than by pure malice. The characters of Belzebub, Moloch, and Belial, are well painted. The good angels, though described with dignity, have more uniformity of character. Among them, however, the mild condescension of Raphael and the tried fidelity of Abdiel form proper characteristic distinctions. The attempt to describe God Almighty himself, was too bold, and accordingly most unsuccessful. The innocence of our First Parents is delicately painted. In some speeches, perhaps Adam appears too knowing and refined for his situation. Eve is hit off more happily. Her gentleness, modesty, and frailty, are expressively characteristic of the female character.

Milton's great and distinguishing excellence is his sublimity. In this, perhaps he excels

even Homer. The first and second books of Paradise Lost are almost a continued series of the highest sublime. But, his sublimity differs from that of Homer; which is always accompanied by impetuosity and fire. The sublime of Milton is a calm and amazing grandeur.