There have been but one great "Ilias" and one "AEneis" in so many ages; the next (but the next with a long interval betwixt) was the "Jerusalem"--I mean, not so much in distance of time as in excellence. After these three are entered, some Lord Chamberlain should be appointed, some critic of authority should be set before the door to keep out a crowd of little poets who press for admission, and are not of quality. Maevius would be deafening your lordship's ears with his "Fortunam Priami cantabo, et nobile bellum."
Mere fustian (as Horace would tell you from behind, without pressing forward), and more smoke than fire. Pulci, Boiardo, and Ariosto would cry out, "Make room for the Italian poets, the descendants of Virgil in a right line." Father Le Moine with his "Saint Louis," and Scudery with his "Alaric" (for a godly king and a Gothic conqueror); and Chapelain would take it ill that his "Maid" should be refused a place with Helen and Lavinia. Spenser has a better plea for his "Faerie Queen," had his action been finished, or had been one; and Milton, if the devil had not been his hero instead of Adam; if the giant had not foiled the knight, and driven him out of his stronghold to wander through the world with his lady-errant; and if there had not been more machining persons than human in his poem.
After these the rest of our English poets shall not be mentioned; I have that honour for them which I ought to have; but if they are worthies, they are not to be ranked amongst the three whom I have named, and who are established in their reputation.
Before I quitted the comparison betwixt epic poetry and tragedy I should have acquainted my judge with one advantage of the former over the latter, which I now casually remember out of the preface of Segrais before his translation of the "AEneis," or out of Bossu--no matter which: "The style of the heroic poem is, and ought to be, more lofty than that of the drama." The critic is certainly in the right, for the reason already urged--the work of tragedy is on the passions, and in dialogue; both of them abhor strong metaphors, in which the epopee delights. A poet cannot speak too plainly on the stage, for volat irrevocabile verbum (the sense is lost if it be not taken flying) but what we read alone we have leisure to digest.
There an author may beautify his sense by the boldness of his expression, which if we understand not fully at the first we may dwell upon it till we find the secret force and excellence. That which cures the manners by alterative physic, as I said before, must proceed by insensible degrees; but that which purges the passions must do its business all at once, or wholly fail of its effect--at least, in the present operation--and without repeated doses. We must beat the iron while it is hot, but we may polish it at leisure.
Thus, my lord, you pay the fine of my forgetfulness,; and yet the merits of both causes are where they were, and undecided, till you declare whether it be more for the benefit of mankind to have their manners in general corrected, or their pride and hard-heartedness removed.
I must now come closer to my present business, and not think of making more invasive wars abroad, when, like Hannibal, I am called back to the defence of my own country. Virgil is attacked by many enemies; he has a whole confederacy against him; and I must endeavour to defend him as well as I am able. But their principal objections being against his moral, the duration or length of time taken up in the action of the poem, and what they have to urge against the manners of his hero, I shall omit the rest as mere cavils of grammarians--at the worst but casual slips of a great man's pen, or inconsiderable faults of an admirable poem, which the author had not leisure to review before his death. Macrobius has answered what the ancients could urge against him, and some things I have lately read in Tannegui le Febvre, Valois, and another whom I name not, which are scarce worth answering. They begin with the moral of his poem, which I have elsewhere confessed, and still must own, not to be so noble as that of Homer. But let both be fairly stated, and without contradicting my first opinion I can show that Virgil's was as useful to the Romans of his age as Homer's was to the Grecians of his, in what time soever he may be supposed to have lived and flourished. Homer's moral was to urge the necessity of union, and of a good understanding betwixt confederate states and princes engaged in a war with a mighty monarch; as also of discipline in an army, and obedience in the several chiefs to the supreme commander of the joint forces. To inculcate this, he sets forth the ruinous effects of discord in the camp of those allies, occasioned by the quarrel betwixt the general and one of the next in office under him. Agamemnon gives the provocation, and Achilles resents the injury. Both parties are faulty in the quarrel, and accordingly they are both punished; the aggressor is forced to sue for peace to his inferior on dishonourable conditions; the deserter refuses the satisfaction offered, and his obstinacy costs him his best friend. This works the natural effect of choler, and turns his rage against him by whom he was last affronted, and most sensibly.
The greater anger expels the less, but his character is still preserved. In the meantime the Grecian army receives loss on loss, and is half destroyed by a pestilence into the bargain:-
"Quicquid delirant reges, plectuntur Achivi."
