spect, a dramatic or epic poem, ought to resemble a fentence or period in language, divided into members that are diftinguished from each other by regular pauses: or it ought to resemble a piece of mufic, having a full close at the end, preceded by imperfect clofes that contribute to the melody. Every act therefore ought to close with some incident that makes a paufe in the action; for otherwise there can be no pretext for interrupting the reprefentation. It would be abfurd to break off in the very heat of action: against this every one would exclaim. The absurdity still remains, though the action relents, if it be not actually fufpended for some time. This rule is alfo applicable to an epic poem; though there a deviation from the rule is lefs remarkable, because it is in the reader's power to hide the abfurdity, by proceeding inftantly to another book. The first book of the Paradife Loft, ends without any regular clofe, perfect or imperfect it breaks off abruptly, where Satan, feated on his throne, is prepared to make a speech to the convocated hoft of the fall'n angels; and the fecond book be

gins

gins with the fpeech. Milton feems to have copied the Æneid, of which the two first books are divided much in the fame manner. Neither is there any proper pause at the end of the fifth book of the Æneid. There is no proper paufe at end of the feventh book of Paradife Loft, nor at the end of the eleventh.

Hitherto I have carried on together the epic and dramatic compofitions.. I proceed to handle them separately, and to mention circumstances peculiar to each, beginning with the epic kind. In a theatrical enter tainment, which employs both the eye and the ear, it would be a monftrous abfurdity to introduce upon the stage invisible beings in a vifible fhape. But it has been much difputed, whether fuch beings may not be properly introduced in an epic poem. If we reft upon the authority of practice, we must declare for the affirmative; and Boileau, among many other critics, is a ftout champion for this fort of machinery. But waving authority, which is apt to im

Third part of his art of poetry.

pofe

pofe upon the judgement, let us draw what light we can from reafon. I begin with a preliminary remark, That this matter is but indiftinctly handled by critics. It is laid down above, that several paffions incite the mind to animate its objects *: the moral virtues become so many goddeffes, and even darts and arrows are infpired with life and action. But then it must not be overlooked, that fuch perfonification, being the work of imagination, is defcriptive only, and affumes not even an appearance of truth. This is very different from what is termed machinery, where deities, angels, devils, or other fupernatural powers, are introduced as real perfonages, mixing in the action, and contributing to the catastrophe; and yet these two things are conftantly jumbled together in the reasoning. The poetical privilege of animating infenfible objects for the fake of defcription, cannot be controverted, becaufe it is founded on a natural principle. But has the privilege of machinery, if it be a privilege, the

Chap. 20. fect. L,

† Ibid.,

fame

1

fame good foundation? Far from it: nothing can be more unnatural. Its effects, at the fame time, are deplorable. First, it gives an air of fiction to the whole; and prevents that impreffion of reality which is requifite to intereft our affections, and to move our paffions*. This of itself is fufficient to explode machinery, whatever entertainment it may give to readers of a fantastic taste or irregular imagination. And next, were it poffible to disguise the fiction, and to delude us into a notion of reality, which I think can hardly be, an infuperable objection would ftill remain, which is, that the aim or end of an epic poem can never be accomplished in any perfection where machinery is introduced. Virtuous emotions cannot be raised fuccessfully but by the actions of those who are endued with paffions and affections like our own, that is, by human actions. And as for moral inftruction, it is evident, that we can draw none from beings who act not upon the fame principles with us. A fable in Æsop's

See chap. 2. part 1. fect. 6.

manner

manner is no objection to this reafoning. His lions, bulls, and goats, are truly men under disguise: they act and feel in every respect as human beings; and the moral we draw is founded on that fuppofition. Homer, it is true, introduces the gods into his fable; and he was authorised to take that liberty by the religion of his country; it being an article in the Grecian creed, that the gods often interpofe vifibly and bodily in human affairs. I muft however obferve, that Homer's deities do no honour to his poems. Fictions that tranfgrefs the bounds of nature, feldom have a good effect: they may inflame the imagination for a moment, but will not be relished by any perfon of a correct taste. Let me add, that of whatever ufe fuch fictions may be to a mean genius, an able writer has much finer materials of Nature's production for elevating his fubject, and making it interesting.

Boileau, a ftrenuous advocate for the Heathen deities, as obferved, declares against angels and devils, though fupported by the religious creed of his country. One would be apt to imagine, that a critic faVOL. III. Hh med