ancl that the action should be simple and uni- 
form. In the Iliad, the action is limited to tire 
destruction of Troy, which is only to be ef- 
fected by the conciliation of Achilles to the 
common cause. In the Odyssey, it is the 
establishment of Ulysses in Ithaca; an event 
which, after innumerable difficulties, he is 
finally enabled to accomplish. In the iEneid 
the hero is destined to found a Trojan colony 
in Latium. In the Jerusalem Delivered, 
the object of the poem from its commence- 
ment to its close, is the restoration of that 
city to the Christians. Criticism requires 
also that poetical justice should be dispensed 
to all parties, success , being awarded to the 
virtuous, and punishment inflicted on the 
guilty. On these principles, three authors 
only, Homer, Virgil, and Tasso, have pro- 
duced epic works. I'here are however many 
poems o the epic or heroic cast to which 
criticism lias hitherto assigned no name. 
Such arc theLusiad ofCamoens.andthellen- 
riade of Voltaire ; and in the Paradise Lost, 
Milton appears in solitary majesty and mag- 
nificence. lie maintains a lofty independ- 
ance of rules and systems, and eternizes to 
himself a distinction superior to ati that cri- 
ticism has to withhold or to bestow. The In- 
ferno of Dante, tne Orlando of Ariosto, the 
Fairy Queen of Spenser, are romances ; a 
species of composition purely fictitious, in 
which no other restriction is imposed on the 
poet’s fancy than that he shall continue to in- 
terest and amuse his reader. Several ro- 
mances of a recent date are intitled to praise: 
such as the Oberon of Wiekmd, ably trans- 
lated by Mr. Sotheby ; the Thalaba of 
Southey, of which the beauties would be 
more generally appreciated if the work was 
less tinged with gloom; and the Lay of the 
Last Minstrel, in which a fable of the most 
superficial texture is drawn out in a succes- 
sion of scenes which perpetually animate 
and delight the imagination. It is obvious, 
that the poetical nomenclature established 
on classical authority, is not sufficiently ex- 
tensive to include all the compositions of 
modern times. To what classical school 
shall we refer the noble ethics of Pope in his 
Epistles, and of Cowper in his Task? By 
what name shall we designate the Traveller 
and the Deserted Village, the Pleasures of 
Memory, the Pleasures of Piope, (neither of 
which is, like the Pleasures of Imagination, in- 
cluded in the didactic species), with many 
other exquisite productions ? Ossian’s poems 
have been classed with epic compositions, 
but are more analogous to the old heroic lays 
chanted by the scalds, bards, and minstrels. 
The relics of Scandinavian literature afford 
many specimens of poetry which, though in- 
ferior in beauty, are obviously of similar origin 
and execution. 
Originally the Drama was a metrical com- 
position, and exhibited all the critical refine- 
ments of poetry. 'I he title of poet is still giv- 
en to every dramatic author, although he 
should have written in prose, and although 
the highest dramatic powers may exist without 
the smallest talent for poetry. The avowed 
object of the drama is to develope the passi- 
ons, or to delineate the manners of mankind: 
tragedv effects the one, and comedy the other. 
In the’ English language are many popular 
dramas of a mixed character, which are writ- 
ten in verse, intermingled with prose, and 
which are called plays. The best pieces in 
POETRY, 
Beaumont and Fletcher, and even Shak- 
speare, belong to this order. The English 
drama deviates essentially from that of classi- 
cal antiquity ; and independant of the division 
of acts and scenes, there is little resemblance 
between them. The triple unities of time, 
place, and action, are seldom observed on the 
English stage ; and our best writers have al- 
lowed, that between the acts any change, of 
scene is admissible. In reality this operation 
is performed in most tragedies and ail come- 
dies, at any season, without either condition 
or restriction ; nor is, perhaps, any change 
censurable, the cause and object of which is 
immediately comprehended by the audience. 
To the limitation of time more attention is 
paid. In many tragedies the action is in- 
cluded iii one day. Unity of design is ob- 
viously an obligation imposed by good sense; 
and Shakspeare, guided only by his. feel- 
ings of propriety, Is in general careful lo ex- 
clude from his plays a divided interest, an 
error perpetually committed by Beaumont 
and Iletcher, and his other dramatic contem- 
poraries. i o construct a truly dramatic fable 
is no easy task, f lie author has to provide 
sources ot constantly augmenting interest, 
to present characters, to suggest situations 
capable of extorting from the spectators an 
active participation in the scene ; above all, 
to supply a series of natural incidents, the 
springs ot dramatic action, by which all the 
life and motion of the piece are produced, 
d’he dramatic style should imbibe its cha- 
racter from that oi the individuals presented 
in the scene, and transmit the impression of 
every feeling which is there pourtrayed. On 
this excellence is founded the superiority of 
Shakspeare to all other dramatists; from 
him each passion receives its appropriate lan- 
guage. With a few masterly touches, he lays 
open the heart, exhibits its most secret move- 
ments, and excites in every bosom corres- 
pondent emotions. The poet who, next to 
Shakspeare, has excelled in the dramatic 
style, is Otway. The tragedies of Roive pos- 
sess extraordinary merit. In the plays of 
Beaumont and Fletcher, and Massinger* are 
innumerable passages of high poetical beau- 
ty; and in tho.-,e of Dryden are discovered the 
most brilliant combinations of thought and 
fancy : but the touches of nature are still 
wanting ; that true dramatic idiom which is 
instantly understood by the heart, and the 
absence of which is not compensated by beau- 
tiful imagery, or the most refined graces of 
composition. Dramatic blank verse, when 
flowing with freedom and facility, is more 
happily adapted than prose to the expression 
of strong emotion; it is not only more har- 
monious, but more concise ; and being ex- 
onerated from that metrical precision which 
is expected in other poetry, is simply the 
language of impassioned feeling. Much of 
the imagery which might delight in the 
closet, would offend on the stage : yet figura- 
tive language- is often employed with great 
effect in describing the tempestuous passions. 
In a state ot agitation the mind becomes pe- 
culiarly susceptible of new combinations. 
Grief is eloquent: and though the chain of 
thought is too tenacious to be broken bv sen- 
sible impressions, it discovers in every ex- 
ternal object some typical illustration ’of its 
own sufferings ; some image which, by a kind 
of fictitious sympathy, seems respondent to 
its individual feelings. Thus Lear, though 
460 
insensible to the storm, invokes the elements, 
reverting to thecontumeiy hehas experienced: 
“ I tax not you, ye elements, with unkind- 
ness; 
I never gave you kingdom, call’d you chil- 
dren ; 
You owe me no subscription.” 
In impassioned language, even a mixture 
of metaphors is not indefensible ; in a mo- 
ment of distraction the mind is versatile, and 
indistinct in its perceptions; and consequent Iv 
becomes liable to form. abrupt, desultorv, and' 
even incongruous associations, 
OJ metrical harmony and poetical emotion. 
Metrical harmony is but the medium bv 
which the poet transmits his ideas and senti- 
ments: it constitutes the fabric into which his 
conceptions are wrought, the form in which 
his sentiments are exhibited. Metrical har- 
mony is common to all who assume the name 
of poets ; from the humble versifier' creeping, 
through hedge-rows of rhyme at the foot of 
Parnassus, lo the son of genius, who has 
drunk of inspiration at its source, and rides 
“ Upon the seraph wing of ecstacy.” 
It has appeared difficult to suggest a proper 
mode ot distinction between these two orders 
of writers ; and it lias been often asked, what 
the real difference is between the legitimate 
bard and a maker of pretty verses: their re- 
spective pretensions might, it should seem, 
be amicably adjusted, by leaving to the former 
an exclusive right to the character of poet, 
and assigning the rank of metrical poets to 
the latter. 1 here is in metrical harmony a 
charm that often renders a trivial thought 
pleasing. ' There are also certain agreeable 
epithets which, if not egregiously misplaced, 
must always call to the mind grateful associa- 
tions , and which when aided bv melodious 
verse, will generally impart some transient sen- 
sation of pleasure. T o awaken strong and per- 
manent feelings of delight, is the prerogative 
only of the original bard. Poetical emotion 
spimgs from admiration or from sympathy, 
and may be awakened by the novelty or the 
renovation of sensation. It may arise from 
combinations new to the fancy, or from re- 
collections interesting to the heart. In the 
energy of his conceptions, and in the charm of 
his expression, resides all the poet’s power 
There are no features of sublimity and mag- 
nificence, no touches of tenderness or pathos, 
bu may be traced to those two sources of 
poetical excellence. Sublimity originates in 
the amplitude of the poet’s mind, and is dis- 
covered m the majesty of his images, or the 
grandeur ot his sentiment : a sensation of 
terror, mingled with admiration, also belongs- 
to the sublime. Such is the sensation awak 
ened by Milton’s awful description of the- 
internal portals : 
“Qua sudden open fly 
With impetuous recoil, and jarring sound, 
Th’ internal doors, and on their hinges orate*- 
Harsh thunder, that the lowest bottom shook 
Of Erebus.” 
What follows is in the true spirit of ter- 
rific sublimity : 
f£ She opened ; but to shut 
Excel ’d her power. The gates wide ope* 
stood ; 
1 hat with extended wing a bannered host, 
