and has equalled him in his verse more than he falls below him in the compafs and dignity of his fubject. The Shilling is truly fplendid in his lines, and his poems will live longer than the unfinished castle, as long as Blenheim is remembered, or Cyder drank in England. But I have digreffed from Milton; and that I may return, and fay all in a word; his ftyle, his thoughts, his verfe, are as fuperior to the generality of other poets, as his fubject. Felton. It is a remarkable phænomenon, and one which has often employed the fpeculations of curious men, that writers and artifts, moft diftinguished for their parts and genius, have generally appeared in confiderable numbers at a time. Some ages have been remarkably barren in them; while, at other periods, Nature seems to have exerted herself with a more than or dinary effort, and to have poured them forth with a profufe fertility. Various reafons have been affigned for this. Some of the moral caufes lie obvious; fuch as favourable circumstances of government and of manners; encouragement from great men; emulation excited among the men of genius. But as these have been thought inadequate to the whole effect, phyfical causes have been alfo affigned; and the Abbé du Bos, in his reflections on Poetry and Painting, has collected a great many obfervations on the influence which the air, the climate, and other fuch natural caufes, may be fuppofed to have upon genius. But whatever the caufes be, the fact is certain, that there have been certain periods or ages of the world much more diftinguished than others, for the extraordinary productions of genius. Blair. Learned men have marked out four of thefe happy ages. The first is the Grecian age, which commenced near the time of the Pelopponnefian war, and extended till the time of Alexander the Great; within which period, we have Herodotus, Thucydides, Xenophon, Socrates, Plato, Ariftotle, Demofthenes, Æfchynes, Lyfias, Ifocrates, Pindar, Efchylus, Euripides, Sophocles, Ariftophanes, Menander, Anacreon, Theocritus, Lyfippus, Apelles, Phidias, Praxiteles. The tecond is the Ro man age, included nearly within the days Ibid. 114. The Reputation of the Ancients eftablifhed too firmly to be fhaken. If any one, at this day, in the eighteenth century, takes upon him to decry the ancient Claffics; if he pretends to have difcovered that Homer and Virgil are poets of inconfiderable merit, and that Demofthenes and Cicero are not great Orators, we may boldly venture to tell fuch a man, that he is come too late with his difcovery. The reputation of fuch writers is eftablished upon a foundation too folid to be now fhaken by any arguments whatever; for it is established upon the almoft univerfal tafte of mankind, proved and tried throughout the fucceffion of fo many ages. Imperfections in their works he may indeed point out; paffages that are faulty he may fhew; for where is the human work that is perfect? But if he attempts to difcredit their works in general, or to prove that the reputation which they have gained is on the whole unjust, there is an argument against him, which is equal to full demonftration. He must be in the wrong; for human nature is against him. In matters of tafte, fuch as poetry and oratory, to whom does the appeal lie? where is the ftandard? and where the authority of the laft decifion? where is it to be looked for, but as I formerly fhewed, in those feelings and fentiments that are found, on the moft extenfive examination, to be the common fentiments and feelings of men? Thefe have been fully confuited on this head, head. The Public, the unprejudiced Public, has been tried and appealed to for many centuries, and throughout almoft all civilized nations. It has pronounced its verdict; it has given its fanction to these writers; and from this tribunal there lies no farther appeal. difon. It is not to commentators and uni- Quod ftabant pueri, cum totus decolor effet From this general principle, then, of the reputation of great ancient Claffics being fo early, fo lafting, fo extenfive, among all the moft polished nations, we may juftly and boldly infer, that their reputation cannot be wholly unjust, but must have a folid foundation in the merit of their writings. Ibid. In matters of mere reafoning, the world may be long in an error; and may be convinced of the error by stronger reasonings, when produced. Pofitions that depend upon fcience, upon knowledge, and matters of fact, may be overturned according as fcience and knowledge are enlarged, and new matters of fact are brought to light. For this reason, a system of philofophy receives no fufficient fanction from its antiquity, or long currency. The world, as it grows older, may be juftly expected to become, if not wifer, at leaft more knowing; and fuppofing it doubtful whether Aristotle, or Newton, were the greater genius, yet Newton's philofophy may prevail over Ariftotle's, by means of later difcoveries, § 116. In what Respects the Moderns excel to which Aristotle was 2 ftranger. nothing of this kind holds as to matters of Tafte; which depend not on the progrefs of knowledge and science, but upon fentiment and feeling. It is in vain to think of undeceiving mankind, with refpect to errors committed here, as in Philofophy. For the univerfal feeling of mankind is the natural feeling; and because it is the natural, it is, for that reafon, the right feeling. The reputation of the Iliad and the Eneid muft therefore ftand upon fure ground, because it has ftood fo long; though that of the Ariftotelian or Platonic philofophy, every one is at liberty to call in question. But Blair. It is in vain alfo to alledge, that the reputation of the ancient poets and orators, is owing to authority, to pedantry, and to the prejudices of education, tranfmitted from age to age. Thefe, it is true, are the authors put into our hands at schools and colleges, and by that means we have now an early prepoffeffion in their favour; but how came they to gain the poffeffion of colleges and schools? Plainly, by the high fame which these authors had among their own cotemporaries. For the Greek and Latin were not always dead languages. There was a time, when Homer, and Virgil, and Horace, were viewed in the fame light as we now view Dryden, Pope, and Ad the Ancients. Let us guard, however, against a blind and implicit veneration for the Ancients in every thing. I have opened the general principle, which maft go far in inftituting Moderns. Whatever fuperiority the Ana fair comparison between them and the cients may have had in point of genius, of knowledge has had room to produce yet in all arts, where the natural progress any confiderable effects, the Moderns cannot but have fome advantage. The world may, in certain refpects, be confidered as a perfon, who must needs gain fomewhat by advancing in years. Its improvements have not, I confefs, been always in proportion to the centuries that have passed over it; for, during the courfe of fome ages, it has funk as into a total lethargy. when roused from that lethargy, it has generally been able to avail itself, more or lefs, of former difcoveries. At intervals, there arofe fome happy genius, who could both improve on what had gone before, and invent fomething new. With the advantage of a proper stock of materials, an inferior genius can make greater progress Yet, than a much fuperior one, to whom these materials are wanting. Hence, in Natural Philofophy, Aftronomy, Chemistry, and other fciences that depend on an extenfive knowledge and obfervation of facts, modern philofophers have an unquestionable fuperiority over the ancient. I am inclined alfo to think, that in matters of pure reasoning, there is more precifion among the moderns, than in fome inftances there was among the ancients; owing perhaps to a more extenfive literary intercourse, which has improved and fharpened the faculties of men. In fome ftudies too, that relate to taste and fine writing, which is our object, the progrefs of fociety muft, in equity, be admitted to have given us fome advantages. For instance, in hiftory; there is certainly more political knowledge in feveral European nations at prefent, than there was in ancient Greece and Rome. We are better acquainted with the nature of government, because we have seen it under a greater variety of forms and revolutions. The world is more laid open than it was in former times; commerce is greatly enlarged; more countries are civilized; pofts are every where established; intercourfe is become more eafy; and the knowledge of facts, by confequence, more attainable. All these are great advantages to hiftorians; of which, in fome measure, as I fhall afterwards fhew, they have availed themfelves. In the more complex kinds of poetry, likewife, we may have gained fomewhat, perhaps, in point of regularity and accuracy. In dramatic performances, having the advantage of the ancient models, we may be allowed to have made fome improvements in the variety of the characters, the conduct of the plot, attentions to probability, and to decorums. Blair. $117. We must look to the Ancients for elegant Compofition, and to the Moderns för accurate Philofophy. From whatever cause it happens, fo it is, that among fome of the ancient writers, we must look for the highest models in most of the kinds of elegant compofition. For accurate thinking and enlarged ideas, in feveral parts of philofophy, to the moderns we ought chiefly to have recourfe. Of correct and finished writing in fome works of taste, they may afford ufeful pat terns; but for all that belongs to original genius, to fpirited, masterly, and high exc cution, our best and most happy ideas are, generally speaking, drawn from the ancients. In epic poetry, for instance, Homer and Virgil, to this day, ftand not within many degrees of any rival. Orators, fuch as Cicero and Demofthenes, we have none. In hiftory, notwithstanding fome defects, which I am afterwards to mention in the ancient hiftorical plans, it may be fafely afferted, that we have no fuch historical narration, fo elegant, fo picturefque, fo animated, and interesting as that of Herodotus, Thucydides, Xenophon, Livy, Tacitus, and Salluft. Although the conduct of the drama may be admitted to have received fome improvements, yet for poetry and fentiment we have nothing to equal Sophocles and Euripides; nor any dialogue in comedy, that comes up to the correct, graceful, and elegant fimplicity of Terence. We have no fuch love-elegies as those of Tibullus; no fuch paftorals as fome of Theocritus's: and for Lyric poetry, Horace stands quite unrivalled. The name of Horace cannot be mentioned without a particular encomium. That "curiofa felicitas," which Petronius has remarked in his expreffion; the fweetnefs, elegance, and spirit of many of his odes, the thorough knowledge of the world, the excellent fentiments, and natural easy manner which diftinguifh his Satires and Epiftles, all contribute to render him one of those very few authors whom one never tires of reading; and from whom alone, were every other monument deftroyed, we fhould be led to form a very high idea of the taste and genius of the Auguftan age. Ibid. § 118. The affiduous Study of the Greck and Roman Claffics recommended. To all fuch then, as wish to form their tafte, and nourish their genius, let me warmly recommend the affiduous ftudy of the ancient claffics, both Greek and Roman. Nocturnâ verfate manu, verfate diurna' Without a confiderable acquaintance with them, no man can be reckoned a polite fcholar; and he will want many affiftances for writing and fpeaking well, which the knowledge of fuch authors would afford his own tafte, who receives little or no him. Any one has great reafon to fufpect pleafure from the perufal of writings, which fo many ages and nations have confented "Read them by day, and study them by night.” FRANCIS The ancient Hiftorians excel in pic- In all the virtues of narration, particularly in that of picturefque defcriptive narration, several of the ancient historians eminently excel. Hence, the pleasure that is found in reading Herodotus, Thucydides, Xenophon, Livy, Salluft, and Tacitus. They are all confpicuous for the art of narration. Herodotus is, at all times, an agreeable writer, and relates every thing with that naïveté and fimplicity of manner, which never fails to interest the read felves caught, and no hope of efcape left, we are made to fee, firft, their aftonishment, next, their indignation, and then, their dejection, painted in the most lively manner, by fuch circumftances and actions as were natural to perfons in their fituation. The reftlefs and unquiet manner in which they pafs the night; the confultations of the Samnites; the various meafures propofed to be taken; the meffages between the two armies, all heighten the fcene. At length, in the morning, the them that they could receive no other confuls return to the camp, and inform terms but that of furrendering their arms, and paffing under the yoke, which was confidered as the laft mark of ignominy for a conquered army. Ibid. § 121. TACITUS remarkable for Hiftorical Painting. Tacitus is another author eminent for historical painting, though in a manner aler. Though the manner of Thucydides Livy's defcriptions are more full, more together different from that of Livy. be more dry and harfh, yet, on great occaplain, and natural; thofe of Tacitus confions, as when he is giving an account of the fift in a few bold ftrokes. He selects one plague of Athens, the fiege of Platea, the or two remarkable circumstances, and sets fedition in Corcyra, the defeat of the Athethem before us in a strong, and, generalnians in Sicily, he displays a very ftrongly, in a new and uncommon light. Such and mafterly power of defcription. Xenophon's Cyropædia, and his Anabafis, or retreat of the ten thousand, are extremely beautiful. The circumstances are finely felected, and the narration is easy and engaging; but his Hellenics, or continuation. of the hiftory of Thucydides, is a much inferior work. Salluft's art of historical painting in his Catilinarian, but, more efpecially, in his Jugurthine war, is well known; though his style is liable to cenfure, as too ftudied and affected. Ibid. § 120. LIVY remarkable for Hiftorical Painting. Livy is more unexceptionable in his manner; and is excelled by no hiftorian whatever in the art of narration: feveral remarkable examples might be given from him. His account, for instance, of the famous defeat of the Roman army by the Samnites, at the Furce Caudine, in the beginning of the ninth book, affords one of the moff beautiful exemplifications of hiftorical painting, that is any where to be met with. We have firft, an exact defcription of the narrow país between two mountains, into which the enemy had decoyed the Romans. When they find them is the following picture of the fituation of magni metûs, et magnæ iræ, filentium "eft"." No image, in any poet, is more ftrong and expreffive than this last stroke of the defcription: "Non tumultus, non quies, fed quale," &c. This is a conception of the sublime kind, and discovers high genius. Indeed, throughout all his work, Tacitus fhews the hand of a master. As he is profound in reflection, so he is ftriking in defcription, and pathetic in fentiment. The philofopher, the poet, and Galba was driven to and fro by the tide of "the multitude, fhoving him from place to place. "The temples and public buildings were filled "with crowds, of a difmal appearance. No cla"mours were heard, either from the citizens, or "from the rabble. Their countenances were "filled with confternation; their cars were em"ployed in liftening with anxiety. It was not "a tumult; it was not quietnefs; it was the filence of terror, and of wrath." the 1 the hiftorian, all meet in him. Though the period of which he writes may be reckoned unfortunate for an hiftorian, he has made it afford us many interesting exhibitions of human nature. The relations which he gives of the deaths of feveral eminent perfonages, are as affecting as the deepest tragedies. He paints with a glowing pencil; and poffeffes, beyond all writers, the talent of painting, not to the imagination merely, but to the heart. With many of the moft diftinguished beauties, he is, at the same time, not a perfect model for history; and fuch as have formed themselves upon him, have feldom been fuccefsful. He is to be admired, rather than imitated. In his reflections he is too refined; in his style too concise, fometimes quaint and affected, often abrupt and obfcure. History feems to require a more natural, flowing, and popular manner. Blair. § 122. On the Beauty of Epiftolary Its firft and fundamental requifite is, to be natural and fimple; for a stiff and laboured manner is as bad in a letter, as it is in converfation. This does not banish fprightlinefs and wit. Thefe are graceful in letters, juft as they are in converfation; when they flow eafily, and without being ftudied; when employed fo as to feafon, not to cloy. One who, either in converfation or in letters, affects to fhine and to fparkle always, will not pleafe long. The ftyle of letters fhould not be too highly polished. It ought to be neat and correct, but no more. All nicety about words, betrays ftudy; and hence mufical periods, and appearances of number and harmony in arrangement, fhould be carefully avoided in letters. The beft letters are commonly fuch as the authors have written with moft facility. What the heart or the imagination dictates, always flows readily; but where there is no fubject to warm or intereft these, conftraint appears; and hence, thofe letters of mere compliment, congratulation, or affected condolance, which have coft the authors moft labour in com pofing, and which, for that reafon, they perhaps confider as their mafter-pieces, never fail of being the most difagreeable and infipid to the readers. Ibid. § 123. Eafe in writing Letters must not degenerate to careleffness. It ought, at the fame time, to be remem bered, that the eafe and fimplicity which I have recommended in epiftolary correfpondence, are not to be understood as importing entire careleffness. In writing to the most intimate friend, a certain degree of attention, both to the subject and the ftyle, is requifite and becoming. It is no more than what we owe both to ourselves, and to the friend with whom we correspond. A flovenly and negligent manner of writing, is a difobliging mark of want of refpect. The liberty, befides, of writing letters with too careless a hand, is apt to betray perfons into imprudence in what they write. The firft requifite, both in converfation and correfpondence, is to attend to all the proper decorums which our own character, and that of others, demand. An imprudent expreffion in converfation may be forgotten and pafs away; but when we take the pen into our hand, we muft remember, that "Litera fcriptæ Ibid. manet." $124. On PLINY's Letters. Pliny's letters are one of the most celebrated collections which the ancients have given us, in the epiftolary way. They are elegant and polite; and exhibit a very pleafing and amiable view of the author. But, according to the vulgar phrafe, they fmell too much of the lamp. They are too elegant and fine; and it is not easy to avoid thinking, that the author is cafting an eye towards the Public, when he is pearing to write only for his friends. Nothing indeed is more difficult, than for an author, who publifhes his own letters, to diveft himself altogether of attention to the opinion of the world in what he fays; by which means, he becomes much lefs agreeable than a man of parts would be, if, without any conftraint of this fort, he were writing to his intimate friend. Ibid. ap $ 125. On CICERO's Letters. Cicero's Epistles, though not fo fhowy as thofe of Pliny, are, on feveral accounts, a far more valuable collection; indeed, the moft valuable collection of letters extant in any language. They are letters of real bufinefs, written to the greatest men of the but without the leaft affectation; and, what age, compofed with purity and elegance, adds greatly to their merit, written without any intention of being publifhed to the world. For it appears that Cicero never kept copies of his own letters; and we are wholly indebted to the care of his freedman Tyro, for the large collection that was G g made, |