University of Virginia Library

Verse 23. Hast thou forgot, &c.] It is in the Original to this Effect. Have you forgot how you swung in the Air when I hung a Load of two Anvils at your Feet, and a Chain of Gold on your Hands? “Tho' it is not my Design, says M. Dacier, to give a Reason for every Story in the Pagan Theology, yet I can't prevail upon my self to pass over this in Silence. The physical Allegory seems very apparent to me: Homer mysteriously in this Place explains the Nature of the Air, which is Juno; the two Anvils which she had at her Feet are the two Elements, Earth and Water; and the Chains of Gold about her Hands are the Æther, or Fire, which fills the superior Region: The two grosser Elements are called Anvils, to shew us, that in these two Elements only, Arts are exercis'd. I don't know but that a moral Allegory may here be found, as well as a physical one; the Poet by these Masses tied to the Feet of Juno, and by the Chain of Gold with which her Hands were bound, might signify, that on one side domestick Affairs should like Fetters detain the Wife at home; and on the other, that proper and beautiful Works like Chains of Gold ought to employ her Hands.”

The physical part of this Note belongs to Heraclides Ponticus, Eustathius, and the Scholiast: M. Dacier might have been contented with the Credit of the moral one, as it seems an Observation no less singular in a Lady.

Verse 23.] Eustathius tells us, that there were in some Manuscripts of Homer two Verses which are not to be found in any of the printed Editions, (which Hen. Stephens places here.)

By these two Verses Homer shews us, that what he says of the Punishment of Juno was not an Invention of his own, but founded upon an ancient Tradition. There had probably been some Statue of Juno with Anvils at her Feet, and Chains on her Hands; and nothing but Chains and Anvils being left by Time, superstitious People rais'd this Story; so that Homer only follow'd common Report. What farther confirms it, is what Eustathius adds, that there were shewn near Troy certain Ruins, which were said to be the Remains of these Masses. Dacier.

Verse 43. And thy black Waves, tremendous Styx!] The Epithet Homer here gives to Styx is κατειβομενον, subterlabens, which I take to refer to its Passage thro' the infernal Regions. But there is a Refinement upon it, as if it signify'd ex alto stillans, falling drop by drop from on high. Herodotus in his sixth Book, writes thus. “The Arcadians say, that near the City Nonacris flows the Water of Styx, and that it is a small Rill, which distilling from an exceeding high Rock, falls into a little Cavity or Bason, environ'd with a Hedge.” Pausanias, who had seen the Place, gives Light to this Passage of Herodotus. “Going from Phereus, says he, in the Country of the Arcadians, and drawing towards the West, we find on the left the City Clytorus, and on the right that of Nonacris, and the Fountain of Styx, which from the Height of a shaggy Precipiece falls drop by drop upon an exceeding high Rock, and before it has travers'd this Rock, flows into the River Crathis; this Water is mortal both to Man and Beast, and therefore it is said to be an infernal Fountain. Homer gives it a Place in his Poems, and by the Description which he delivers, one would think he had seen it.” This shews the wonderful Exactness of Homer in the Description of Places which he mentions. The Gods swore by Styx, and this was the strongest Oath they could take; but we likewise find that Men too swore by this fatal Water: for Herodotus tells us, that Cleomenes going to Arcadia to engage the Arcadians to follow him in a War against Sparta, had a design to assemble at the City Nonacris, and make them swear by the Water of this Fountain. Dacier. Eustath. in Odyss.

Verse 47. Not by my Arts, &c.] This Apology is well contriv'd; Juno could not swear that she had not deceiv'd Jupiter, for this had been entirely false, and Homer would be far from authorizing Perjury by so great an Example. Juno, we see, throws part of the Fault on Neptune, by shewing she had not acted in concert with him. Eustathius.

Verse 67. Greece chas'd by Troy , &c.] In this Discourse of Jupiter the Poet opens his Design, by giving his Readers a Sketch of the principal Events he is to expect. As this Conduct of Homer may to many appear no way artful, and since it is a principal Article of the Charge brought against him by some late French Criticks, it will not be improper here to look a little into this Dispute. The Case will be best stated by translating the following Passage from Mr. de la Motte's Reflections sur la Critique.

“I could not forbear wishing that Homer had an Art, which he seems to have neglected, that of preparing Events without making them known beforehand, so that when they happen one might be surprized agreeably. I could not be quite satisfied to hear Jupiter, in the middle of the Iliad, give an exact Abridgment of the Remainder of the Action. Mad. Dacier alledges as an Excuse, that this past only between Jupiter and Juno; as if the Reader was not let into the Secret, and had not as much share in the Confidence.

She adds, “that as we are capable of a great deal of Pleasure at the Representation of a Tragedy which we have seen before, so the Surprizes which I require are no way necessary to our Entertainment. This I think a pure Piece of Sophistry: One may have two sorts of Pleasure at the Representation of a Tragedy; in the first place, that of taking part in an Action of Importance the first time it passes before our Eyes, of being agitated by Fear and Hope for the Persons one is most concern'd about, and in fine, of partaking their Felicity or Misfortune, as they happen to succeed, or be disappointed.

“This therefore is the first Pleasure which the Poet should design to give his Auditors, to transport them by pathetic Surprizes which excite Terror or Pity. The second Pleasure must proceed from a View of that Art which the Author has shewn in raising the former.

“'Tis true, when we have seen a Piece already, we have no longer that first Pleasure of the Surprize, at least not in all its Vivacity; but there still remains the second, which could never have its turn, had not the Poet labour'd successfully to excite the first, it being upon that indispensable Obligation that we judge of his Art.

“The Art therefore consists in telling the Hearer only what is necessary to be told him, and in telling him only as much as is requisite to the Design of pleasing him. And altho' we know this already when we read it a second time, we yet taste the Pleasure of that Order and Conduct which the Art required.

“From hence it follows, that every Poem ought to be contrived for the first Impression it is to make. If it be otherwise, it gives us (instead of two Pleasures which we expected) two sorts of Disgusts; the one, that of being cool and untouch'd when we should be mov'd and transported; the other, that of perceiving the Defect which caus'd that Disgust.

“This, in one word, is what I have found in the Iliad. I was not interested or touch'd by the Adventures, and I saw it was this cooling Preparation that prevented my being so.”

It appears clearly that M. Dacier's Defence no way excuses the Poet's Conduct; wherefore I shall add two or three Considerations which may chance to set it in a better Light. It must be own'd that a Surprize artfully managed, which arises from unexpected Revolutions of great Actions, affects the Mind with a peculiar Delight: In this consists the principal Pleasure of a Romance and well writ Tragedy. But besides this, there is in the Relation of great Events a different kind of Pleasure which arises from the artful unravelling a Knot of Actions, which we knew before in the gross. This is a Delight peculiar to History and Epic Poetry, which is founded on History. In these kinds of writing, a preceding summary Knowledge of the Events described, does no way damp our Curiosity, but rather makes it more eager for the Detail. This is evident in a good History, where generally the Reader is affected with a greater Delight, in proportion to his preceding Knowledge of the Facts described: The Pleasure in this case is like that of an Architect first viewing some magnificent Building, who was before well acquainted with the Proportions of it. In an Epic Poem the case is of a like Nature; where, as if the historical Fore-knowledge were not sufficient, the most judicious Poets never fail to excite their Reader's Curiosity by some small Sketches of their Design; which like the Outlines of a fine Picture, will necessarily raise in us a greater desire to see it in its finish'd Colouring.

Had our Author been inclined to follow the Method of managing our Passions by Surprizes, he could not well have succeeded by this manner in the Subject he chose to write upon, which being a Story of great Importance, the principal Events of which were well known to the Greeks, it was not possible for him to alter the Ground-work of his Piece; and probably he was willing to mark by these Recapitulations and Anticipations how much of his Story was founded on historical Truths, and that what is superadded were the poetical Ornaments.

There is another Consideration worth remembring on this Head, to justify our Author's Conduct. It seems to have been an Opinion in these early times, deeply rooted in most Countries and Religions, that the Actions of Men were not only foreknown, but predestinated by a superior Being. This Sentiment is very frequent in the most ancient Writers both sacred and prophane, and seems a distinguishing Character of the Writings of the greatest Antiquity. The Word of the Lord was fulfill'd, is the principal Observation in the History of the Old Testament, and Διος δ' ετελειετο βουλη is the declared and most obvious Moral of the Iliad. If this great Moral be fit to be represented in Poetry, what Means so proper to make it evident, as this introducing Jupiter foretelling the Events which he had decreed?

Verse 86. As some way-faring Man, &c.] The Discourse of Jupiter to Juno being ended, she ascends to Heaven with wonderful Celerity, which the Poet explains by this Comparison. On other Occasions he has illustrated the Action of the Mind by sensible Images from the Motion of the Bodies; here he inverts the Case, and shews the great Velocity of Juno's Flight by comparing it to the Quickness of Thought. No other Comparison could have equall'd the Speed of an heavenly Being. To render this more beautiful and exact, the Poet describes a Traveller who revolves in his Mind the several Places which he has seen, and in an Instant passes in Imagination from one distant Part of the Earth to another. Milton seems to have had it in his Eye in that elevated Passage,

As the Sense in which we have explain'd this Passage is exactly literal, as well as truly sublime, one cannot but wonder what should induce both Hobbes and Chapman to ramble so wide from it in their Translations.

Chapman's is yet more foreign to the Subject,

Verse 102. Go thou, the Feasts of Heav'n attend thy Call.] This is a Passage worthy our Observation: Homer feigns, that Themis, that is Justice, presides over the Feasts of the Gods; to let us know, that she ought much more to preside over the Feasts of Men. Eustathius.

Verse 114. Juno's Speech to the Gods.] It was no sort of Exaggeration what the Ancients have affirm'd of Homer, that the Examples of all kinds of Oratory are to be found in his Works. The present Speech of Juno is a Masterpiece in that sort, which seems to say one thing, and persuades another: For while she is only declaring to the Gods the Orders of Jupiter, at the time that she tells 'em they must obey, she fills them with a Reluctance to do it. By representing so strongly the Superiority of his Power, she makes them uneasy at it, and by particularly advising that God to submit, whose Temper could least brook it, she incites him to downright Rebellion. Nothing can be more sly and artfully provoking, than that Stroke on the Death of his darling Son. Do thou, O Mars, teach Obedience to us all, for 'tis upon thee that Jupiter has put the severest Trial: Ascalaphus thy Son lies slain by his means: Bear it with so much Temper and Moderation, that the World may not think he was thy Son.

Verse 134. To Fear and Flight .—] Homer does not say, that Mars commanded they should join his Horses to his Chariot, which Horses were call'd Fear and Flight. Fear and Flight are not the Names of the Horses of Mars, but the Names of two Furies in the Service of this God: It appears likewise by other Passages, that they were his Children, Book 13. V. 299. This is a very ancient Mistake; Eustathius mentions it as an Error of Antimachus, yet Hobbes and most others have fallen into it.

Verse 164. Go wait the Thund'rer's Will.] 'Tis remarkable, that whereas it is familiar with the Poet to repeat his Errands and Messages, here he introduces Juno with very few Words, where she carries a Dispatch from Jupiter to Iris and Apollo. She only says, “Jove commands you to attend him “on Mount Ida,” and adds nothing of what had pass'd between herself and her Consort before. The reason of this Brevity is not only that she is highly disgusted with Jupiter, and so unwilling to tell her Tale from the Anguish of her Heart; but also because Jupiter had given her no Commission to relate fully the Subject of their Discourse; wherefore she is cautious of declaring what possibly he would have concealed. Neither does Jupiter himself in what follows reveal his Decrees: For he lets Apollo only so far into his Will, that he would have him discover and rout the Greeks: Their good Fortune, and the Success which was to ensue, he hides from him, as one who favour'd the Cause of Troy. One may remark in this Passage Homer's various Conduct and Discretion concerning what ought to be put in Practice, or left undone; whereby his Reader may be inform'd how to regulate his own Affairs. Eustathius.

Verse 210.

, &c.]

Some have thought the Platonic Philosophers drew from hence the Notion of their Triad (which the Christian Platonists since imagined to be an obscure Hint of the Sacred Trinity.) The Trias to Plato is well known, το αυτο ον, ο νους ο δημιουργος, η του κοσμου ψυχη. In his Gorgias he tells us, τον Ομηρον autorem sc. fuisse) της των δημιουργικων Τριαδικης υποστασεως. See Proclus in Plat. Theol. lib. 1. c. 5. Lucian Philopatr. Aristotle de cœlo, l. 1. c. 1. speaking of the Ternarian Number from Pythagoras, has these Words; Τα τρια παντα, και το τρις παντη. Και προς τας αριστειας των θεων χρωμεθα τω αριθμω τουτω. Καθαπερ γαρ φασιν και οι Πυθαγορειοι, το παν και τα παντα τοις τρισιν ωρισται. Τελευτη γαρ και μεσον και αρχη τον αριθμον εχει τον του παντος: ταυτα δε τον της τριαδος. From which Passage Trapezuntius endeavour'd very seriously to prove, that Aristotle had a perfect Knowledge of the Trinity. Duport (who furnish'd me with this Note, and who seems to be sensible of the Folly of Trapezuntius) nevertheless in his Gnomologia Homerica, or Comparison of our Author's Sentences with those of the Scripture, has placed opposite to this Verse that of St. John. There are three who give Testimony in Heaven, the Father, the Son, and the Holy Ghost. I think this the strongest Instance I ever met with of the manner of thinking of such Men, whose too much Learning has made them mad.

Lactantius, de Fals. Relig. lib. 1. cap. 11. takes this Fable to be a Remain of ancient History, importing, that the Empire of the then known World was divided among the three Brothers; to Jupiter the Oriental part, which was call'd Heaven, as the Region of Light, or the Sun: To Pluto the Occidental, or darker Regions: And to Neptune the Sovereignty of the Seas.

Verse 228. To elder Brothers.] Iris, that she may not seem to upbraid Neptune with Weakness of Judgment, out of Regard to the Greatness and Dignity of his Person, does not say that Jupiter is stronger or braver; but attacking him from a Motive not in the least invidious, Superiority of Age, she says sententiously, that the Furies wait upon our Elders. The Furies are said to wait upon Men in a double Sense: either for Evil, as they did upon Orestes after he had slain his Mother; or else for their good, as upon Elders when they are injur'd, to protect them and avenge their Wrongs. This is an Instance that the Pagans look'd upon Birth-right as a Right divine. Eustathius.

Verse 252. Else had our Wrath, &c.] This Representation of the Terrors which must have attended the Conflict of two such mighty Powers as Jupiter and Neptune, whereby the Elements had been mix'd in Confusion, and the whole Frame of Nature endangered, is imaged in these few Lines with a Nobleness suitable to the Occasion. Milton has a Thought very like it in his fourth Book, where he represents what must have happen'd if Satan and Gabriel had encounter'd.

Verse 274. Jove thinking of his Pains, they past away.] Eustathius observes, that this is a very sublime Representation of the Power of Jupiter, to make Hector's Pains cease from the Moment wherein Jupiter first turn'd his Thoughts towards him. Apollo finds him so far recover'd, as to be able to sit up, and know his Friends. Thus much was the Work of Jupiter; the God of Health perfects the Cure.

Verse 298. As when the pamper'd Steel.] This Comparison is repeated from the sixth Book, and we are told that the ancient Criticks retain'd no more than the two first Verses and the four last in this Place, and that they gave the Verses two Marks; by the one (which was the Asterism) they intimated, that the four Lines were very beautiful; but by the other (which was the Obelus) that they were ill placed. I believe an impartial Reader who considers the two Places will be of the same Opinion.

Tasso has improv'd the Justness of this Simile in his sixteenth Book, where Rinaldo returning from the Arms of Armida to Battel, is compared to the Steed that is taken from his Pastures and Mares to the Service of the War: The Reverse of the Circumstance better agreeing with the Occasion.

Verse 311. For Fate preserves them.] Dacier has a pretty Remark on this Passage, that Homer extended Destiny (that is, the Care of Providence) even over the Beasts of the Field; an Opinion that agrees perfectly with true Theology. In the Book of Jonas, the Regard of the Creator extending to the meanest Rank of his Creatures, is strongly express'd in those Words of the Almighty, where he makes his Compassion to the Brute Beasts one of the Reasons against destroying Nineveh. Shall I not spare the great City, in which there are more than sixscore thousand Persons, and also much Cattel? And what is still more parallel to this Passage, in St. Matth. Ch. 10. Are not two Sparrows sold for a Farthing? And yet one of them shall not fall to the Ground, without your Father.

Verse 362. But when aloft he shakes.] Apollo in this Passage by the mere shaking his Ægis, without acting offensively, annoys and puts the Greeks into Disorder. Eustathius thinks that such a Motion might possibly create the same Confusion, as hath been reported by Historians to proceed from Panic Fears: or that it might intimate some dreadful Confusion in the Air, and a Noise issuing from thence; a Notion which seems to be warranted by Apollo's Outcry, which presently follows in the same Verse. But perhaps we need not go so far to account for this Fiction of Homer: The Sight of a Hero's Armour often has the like Effect in an Epic Poem: The Shield of Prince Arthur in Spencer works the same Wonders with this Ægis of Apollo.

Verse 386.

] Here is one that falls under the Spear of Paris, smitten in the Extremity of his Shoulder, as he was flying. This gives occasion to a pretty Observation in Eustathius, that this is the only Greek who falls by a Wound in the Back, so careful is Homer of the Honour of his Countrymen. And this Remark will appear not ill grounded, if we except the Death of Eioneus in the beginning of Lib. 6.

Verse 396. For by the Gods, who flies, &c.] It sometimes happens (says Longinus) that a Writer in speaking of some Person, all on a sudden puts himself in that other's Place, and acts his part; a Figure which marks the Impetuosity and Hurry of Passion. It is this which Homer practises in these Verses; the Poet stops his Narration, forgets his own Person, and instantly, without any Notice puts this precipitate Menace into the Mouth of his furious and transported Hero. How must his Discourse have languish'd, had he stay'd to tell us, Hector then said these, or the like Words. Instead of which by this unexpected Transition he prevents the Reader, and the Transition is made before the Poet himself seems sensible he had made it. The true and proper Place for this Figure is when the Time presses, and when the Occasion will not allow of any Delay: It is elegant then to pass from one Person to another, as in that of Hecatæus. The Herald, extremely discontented at the Orders he had receiv'd, gave command to the Heraclidæ to withdraw.—It is no way in my Power to help you; if therefore you would not perish entirely, and if you would not involve me too in your Ruin, depart, and seek a Retreat among some other People Longinus, ch. 23.

Verse 416. As when ashore an Infant stands.] This Simile of the Sand is inimitable; it is not easy to imagine any thing more exact and emphatical to describe the tumbling and confus'd Heap of a Wall, in a Moment. Moreover the Comparison here taken from Sand is the juster, as it rises from the very Place and Scene before us. For the Wall here demolished, as it was founded on the Coast, must needs border on the Sand; wherefore the Similitude is borrowed immediately from the Subject Matter under View. Eustathius.

Verse 427. Oh Jove! if ever, &c.] The Form of Nestor's Prayer in this Place resembles that of Chryses in the first Book. And it is worth remarking, that the Poet well knew what Shame and Confusion the reminding one of past Benefits is apt to produce. From the same Topick Achilles talks with his Mother, and Thetis herself accosts Jove; and likewise Phœnix where he holds a Parley with Achilles. This righteous Prayer hath its wished Accomplishment. Eustathius.

Verse 438. Presumptuous Troy mistook the Sign.] The Thunder of Jupiter is design'd as a Mark of his Acceptance of Nestor's Prayers, and a Sign of his Favour to the Greeks. However, there being nothing in the Prodigy particular to the Greeks, the Trojans expound it in their own Favour, as they seem warranted by their present Success. This Self-partiality of Men in appropriating to themselves the Protection of Heaven, has always been natural to them. In the same manner Virgil makes Turnus explain the Transformation of the Trojan Ships into Nymphs, as an ill Omen to the Trojans.

History furnishes many Instances of Oracles, which by reason of this partial Interpretation, have prov'd an occasion to lead Men into great Misfortunes: It was the Case of Cræsus in his Wars with Cyrus; and a like Mistake engaged Pyrrhus to make War upon the Romans.

Verse 448. On the Ships above, the Cars below.] This is a new sort of Battel, which Homer has never before mention'd; the Greeks on their Ships, and the Trojans in their Chariots, fight as on a Plain. Eustathius.

Verse 472. Nor could the Trojans—Force to the Fleet and Tents th'impervious way.] Homer always marks distinctly the Place of Battel; he here shews us clearly, that the Trojans attack'd the first Line of the Fleet that stood next the Wall, or the Vessels which were drawn foremost on the Land: These Vessels were a strong Rampart to the Tents, which were pitch'd behind, and to the other Line of the Navy which stood nearer to the Sea; to penetrate therefore to the Tents, they must necessarily force the first Line, and defeat the Troops which defended it. Eustathius.

Verse 582. Death is the worst, &c.] 'Tis with very great Address, that to the Bitterness of Death, he adds the Advantages that were to accrue after it. And the Ancients are of Opinion, that 'twou'd be as advantageous for young Soldiers to read this Lesson, concise as it is, as all the Volumes of Tyrtæus, wherein he endeavours to raise the Spirits of his Countrymen. Homer makes a noble Enumeration of the Parts wherein the Happiness of a City consists. For having told us in another Place, the three great Evils to which a Town, when taken, is subject; the Slaughter of the Men, the Destruction of the Place by Fire; the leading of their Wives and Children into Captivity: now he reckons up the Blessings that are contrary to those Calamities. To the Slaughter of the Men indeed he makes no Opposition; because it is not necessary to the Well-being of a City, that every Individual should be saved, and not a Man slain. Eustathius.

Verse 590. The godlike Ajax next.] The Oration of Hector is more splendid and shining than that of Ajax, and also more solemn, from his Sentiments concerning the Favour and Assistance of Jupiter. But that of Ajax is the more politick, fuller of Management, and apter to persuade: For it abounds with no less than seven generous Arguments to inspire Resolution. He exhorts his People even to Death, from the Danger to which their Navy was exposed, which if once consumed, they were never like to get home. And as the Trojans were bid to die, so he bids his Men dare to die likewise: and indeed with great Necessity, for the Trojans may recruit after the Engagement, but for the Greeks, they had no better way than to hazard their Lives; and if they should gain nothing else by it, yet at least they would have a speedy Dispatch, not a lingring and dilatory Destruction. Eustathius.

Verse 677. And flank the Navy with a Brazen Wall.] The Poet has built the Grecians a different sort of Wall from what they had before, out of their Arms; and perhaps one might say, that 'twas from this Passage Apollo borrow'd that Oracle which he gave to the Athenians about their Wall of Wood; in like manner, the Spartans were said to have a Wall of Bones: If so, we must allow the God not a little obliged to the Poet. Eustathius.

Verse 723. He raises Hector , &c.] This Picture of Hector, impuls'd by Jupiter, is a very finish'd Piece, and excels all the Drawings of this Hero which Homer has given us in so various Attitudes. He is here represented as an Instrument in the Hand of Jupiter, to bring about those Designs the God had long projected: And as his fatal Hour now approaches, Jove is willing to recompence his hasty Death with this short-liv'd Glory. Accordingly this being the last Scene of Victory he is to appear in, the Poet introduces him with all imaginable Pomp, and adorns him with all the Terror of a Conqueror: His Eyes sparkle with Fire, his Mouth foams with Fury, his Figure is compared to the God of War, his Rage is equall'd to a Conflagration and a Storm, and the Destruction he causes is resembled to that which a Lyon makes among the Herds. The Poet, by this Heap of Comparisons, raises the Idea of the Hero higher than any single Description could reach.

Verse 736.—His Fate was near—Due to stern Pallas.] It may be ask'd, what Pallas has to do with the Fates, or what Power has she over them? Homer speaks thus, because Minerva has already resolv'd to succour Achilles, and deceive Hector in the Combate between these two Heroes, as we find in Book 22. Properly speaking, Pallas is nothing but the Knowledge and Wisdom of Jove, and it is Wisdom which presides over the Councels of his Providence; therefore she may be look'd upon as drawing all things to the fatal Term to which they are decreed. Dacier.

Verse 752. Burst as a Wave, &c.] Longinus, observing that oftentimes the principal Beauty of Writing consists in the judicious assembling together of the great Circumstances, and the Strength with which they are mark'd in the proper Place, chuses this Passage of Homer as a plain Instance of it. “Where (says that noble Critick) in describing the Terror of a Tempest, he takes care to express whatever are the Accidents of most Dread and Horror in such a Situation: He is not content to tell us that the Mariners were in danger, but he brings them before our Eyes, as in a Picture, upon the Point of being every Moment overwhelm'd by every Wave; nay the very Words and Syllables of the Description give us an Image of their Peril.” He shews, that a Poet of less Judgment would amuse himself in less important Circumstances, and spoil the whole Effect of the Image by minute, ill-chosen, or superfluous Particulars. Thus Aratus endeavouring to refine upon that Line,

He turn'd it thus,

Which, by flourishing upon the Thought, has lost the Loftiness and Terror of it, and is so far from improving the Image, that it lessens and vanishes in his Management. By confining the Danger to a single Line, he has scarce left the Shadow of it; and indeed the word preserves takes away even that. The same Critick produces a Fragment of an old Poem on the Arimaspians, written in this false Taste, whose Author he doubts not imagin'd he had said something wonderful in the following affected Verses. I have done my best to give 'em the same turn, and believe there are those, who will not think 'em bad ones.

Verse 796. Nestor's Speech.] This popular Harangue of Nestor is justly extoll'd as the strongest and most persuasive Piece of Oratory imaginable. It contains in it every Motive by which Men can be affected; the Preservation of their Wives and Children, the secure Possession of their Fortunes, the Respect of their living Parents, and the due Regard for the Memory of those that were departed: By these he diverts the Grecians from any Thoughts of Flight in the Article of extreme Peril. Eustathius.

This noble Exhortation is finely imitated by Tasso, Jerusalem. l. 20.

Verse 814. First of the Fieldm great Ajax .] In this very Book, Homer, to raise the Valour of Hector, gives him Neptune for an Antagonist; and to raise that of Ajax, he first opposed to him Hector, supported by Apollo, and now the same Hector impell'd and seconded by Jupiter himself. These are Strokes of a Master-hand. Eustathius.

Verse 824. Drives four fair Coursers, &c.] The Comparison which Homer here introduces, is a Demonstration, that the Art of mounting and managing Horses was brought to so great a Perfection in these early Times, that one Man could manage four at once, and leap from one to the other even when they run full speed. But some object, that the Custom of Riding was not known in Greece at the time of the Trojan War: Besides, they say the Comparison is not just, for the Horses are said to run full speed, whereas the Ships stand firm and unmov'd. Had Homer put the Comparison in the Mouth of one of his Heroes, the Objection had been just, and he guilty of an Inconsistency; but it is he himself who speaks: Saddle-Horses were in use in his Age, and any Poet may be allow'd to illustrate Pieces of Antiquity by Images familiar to his own Times. This I hope is sufficient for the first Objection; nor is the second more reasonable than this; for it is not absolutely necessary that Comparisons should correspond in every Particular; it suffices if there be a general Resemblance. This is only introduced to shew the Agility of Ajax, who passes swiftly from one Vessel to another, and is therefore entirely just. Eustathius.

Verse 856. The same that dead Protesilaus bore.] Homer feigns that Hector laid hold on the Ship of the dead Protesilaus, rather than that of any other, that he might not disgrace any of his Grecian Generals. Eustathius.

Verse 874.

.------] Homer adds this with a great deal of Art and Prudence, to answer beforehand all the Objections which he well foresaw might be made, because Hector never till now once attacks the Grecians in their Camp, or endeavours to burn their Navy. He was retain'd by the Elders of Troy, who frozen with Fear at the Sight of Achilles, never suffer'd him to march from the Ramparts. Our Author forgets nothing that has the Resemblance of Truth; but he had yet a farther Reason for inserting this, as it exalts the Glory of his principal Hero: These Elders of Troy thought it less difficult to defeat the Greeks, tho' defended with strong Entrenchments, while Achilles was not with them; than to overcome them without Entrenchments when he assisted them. And this is the reason that they prohibited Hector before, and permit him now, to sally upon the Enemy. Dacier.

Verse 877. But now Jove calls to Arms, &c.] Hector seems to be sensible of an extraordinary Impulse from Heaven, signified by these Words, the most mighty Hand of Jove pushing him on. 'Tis no more than any other Person would be ready to imagine, who should rise from a State of Distress or Indolence, into one of good Fortune, Vigour, and Activity. Eustathius.

Verse 890. The Speech of Ajax .] There is great Strength, Closeness, and Spirit in this Speech, and one might (like many Criticks) employ a whole Page in extolling and admiring it in general Terms. But sure the perpetual Rapture of such Commentators, who are always giving us Exclamations instead of Criticisms, may be a Mark of great Admiration, but of little Judgment. Of what Use is this either to a Reader who has a Taste, or to one who has not? To admire a fine Passage is what the former will do without us, and what the latter cannot be taught to do by us. However we ought gratefully to acknowledge the good Nature of most People, who are not only pleased with this superficial Applause given to fine Passages, but are likewise inclined to transfer to the Critick, who only points at these Beauties, part of the Admiration justly due to the Poet. This is a cheap and easy way to Fame, which many Writers ancient and modern have pursued with great Success. Formerly indeed this sort of Authors had Modesty, and were humbly content to call their Performances only Florilegia or Posies: But some of late have pass'd such Collections on the World for Criticisms of great Depth and Learning, and seem to expect the same Flowers should please us better, in these paltry Nosegays of their own making up, than in the native Gardens where they grew. As this Practice of extolling without giving Reasons, is very convenient for most Writers; so it excellently suits the Ignorance or Laziness of most Readers, who will come into any Sentiment rather than take the trouble of refuting it. Thus the Complement is mutual: For as such Criticks do not tax their Readers with any thought to understand them, so their Readers in Return advance nothing in Opposition to such Criticks. They may go roundly on, admiring and exclaiming in this manner; What an exquisite Spirit of Poetry—How beautiful a Circumstance—What Delicacy of Sentiments—With what Art has the Poet—In how sublime and just a manner—How finely imagined—How wonderfully beautiful and poetical—And so proceed, without one Reason to interrupt the Course of their Eloquence, most comfortably and ignorantly Apostrophising to the end of the Chapter.