enthusiasm.—That enthusiasm, which makes the herothe conqueror-the knight-errant, like Perseus, Theseus, Hercules, and the adventurous knights and champions of Gothic fable. Nor is this enthusiasm of pure elevation, which forms the hero, often found separate from the other kind, which raises the mind, by depressing it-paradoxical as the expression may seem and forms the devotee and the martyr. We find the preceding observation confirmed, by a reference to the poets, who describe the manners of the heroic ages. Their traditions are full of the signal punishments, reserved for impious men. Many of their most distinguished chiefs were priests, as well as warriors. All their great enterprises were preceded, and followed by religious ceremonies, and solemn appeals to the deity. And there is no part of the narrative, on which they seem to dwell, with so much complacency, as the details of sacrifices, the recital of oracles, and the description of omens, prodigies, and divine apparitions. All this is strictly, and philosophically just, and conformable to the history of human nature.- Men, who are much conversant in dangers, are generally prone to superstition and religious enthusiasm. This is seen in particular classes of people, whose professions are more hazardous, than those of the generality; as sailors, and people, who are employed in mines.* Such men are peculiarly credulous, and superstitious; and have certain traditionary legends, and bigotted notions, appropriate to themselves: men, who escape, as it were, by miracle, from seemingly inevitable dangers, must feel more strongly, the necessity of looking for divine protection. And persons, who have witnessed the accom plishment of very extraordinary things, seemingly unat * See the notes on Sargent's Mine, a drama. tainable tainable by human force, may readily be induced, to believe in the interference of some supernatural agency. Independent of the limited state of knowledge in the heroic ages, which must leave room for the operation of credulity and enthusiasm, the transactions, which take place in those times, are well calculated to cherish such impressions. When exploits and undertakings, apparently surpassing the bounds of mortal strength and capacity, are atchieved, the untutored vulgar, more disposed to wonder than to reason, are immediately led, to account for the matter, by resorting to supernatural agency. This propensity attaches to the legends and traditions of those ages, an imposing grandeur, a mystic and awful solemnity.The heroes of ancient Greece, are born and nurtured in an extraordinary manner. They are the offspring of gods celestial, of nymphs, and river gods. They are supported, or opposed, in their stupendous adventures, by deities, and a reception into the society of divinities,* is the crown of their laThe heroes of the Gothic mythology are nurst, by fairies and wizards-they are defended, or opposed, by the powers of enchantment-they are in perpetual conflict with giants, demons, and necromancers-they are aided and instructed by good genii, and celestial spirits they assail towers and fortresses, raised by magic-they are perplexed in forests entangled by sorcery. Thus, similar is the spirit of the Grecian, to that of the Gothic mythology; because both are, in fact, a faithful transcript of nature. bours. The passions and feelings of men are to be considered, in two points of view; as furnishing subjects for * Thus, Achilles wounds Venus, and combats other deities. the muse. First, as they produce events and historical facts, which excite such an interest, either by their being marvellous and great, or by their excellence, or atrocity, as to become objects of general and popular attention, and, consequently, fit themes for song. Or, secondly, as the passion itself, and the workings in the mind become the direct and immediate arguments of poetical comparison. With poetry, originating from this latter source, the heroic ages have little concern. The forms and kinds of poetry, which are cultivated, and please, in that period, are, like the persons and passions of the men, who live in it, of the more robust and majestic frame and feature, and of the more aspiring and bold character.—The prevalent kinds of poetry grow, naturally, out of the predominant passions, and dispositions, and the existing state of society.The Epos, under which name I would include heroic tales, and metrical romances, celebrating the high atchievements of demigods and heroes, are among the first attempts of the muse.-No strains could be so acceptable and flattering, to the ears of martial chieftains, as those which extolled their own brave exploits, or recorded the military fame of their ancestors. Songs of this kind, must have been generally popular, and been preferred to all others, among people, who considered the profession of arms, as that, which alone was honourable, and were trained, and exercised, from their early years, to the trade of war. "Such was the Chian father's strain, "To many a kind domestic train, "Had chear'd the reverend pilgrim's soul: With equal bounty to requite, "He "He struck his magic strings," "And pour'd spontaneous numbers forth, "And seis'd their souls with tales of ancient worth, "And fill'd their musing hearts with vast heroic things." And such, too, were the songs of Ossian, addrest to the assembled heroes, at the feast of shells.* Lyric effusions, also, were not unfrequent-whether the song of victory resounded, after a successful exploit, or the dirge was chanted, in praise of some departed worthy. In that age of religious enthusiasm, and undissembled piety, the powers of poetry were frequently called in aid of religion, to produce solemn addresses to the deity, like the Orphic hymns, which are referred to the most remote antiquity, and are supposed, with some degree of probability, to be the genuine productions of the inspired bard and warrior, whose name they bear, and who shared in the Argonautic expedition. To compositions, such as I have mentioned, we may, perhaps, add apologues and allegories, of which we find many beautiful instances, in the poetical parts of the Old Testament, and in other writings of the early ages. Το * In Denon's Voyage, Vol. I. a picture is given, of the amusements of the soldiers and sailors, in the fleet of Buonapartè, not unworthy of the simplicity of the heroic ages." When night put a stop to these turbu"lent enjoyments, a bad fiddle, or worse singer, drew "a numerous auditory.-An energetic story-teller "charmed the attention of a groupe of seamen, with "the prodigies of valour, and marvellous adventures, "of Tranche Montagne; the hero of these tales being, "invariably, a warrior, each of the adventures was as "probable, as it was interesting to the audience!!" these these we may add, collections of moral precepts, and compilations of prudential maxims, such as the Proverbs of Solomon, the Works and Days of Hesiod. It might be expected, perhaps, that, in this enumeration, I should include pastoral poetry, and that exquisite poem, the Canticles, might be cited, as an instance of the high antiquity of this species of composition; but, it must be remembered, that this production came from the bowers of luxury, and amorous indulgence, where the sapient king held dalliance with his fair Egyptian spouses-and that, although Solomon wrote in an early age, he did not write, in one, which was unpolished, or what we may call heroic; but, on the contrary, in times highly refined and luxurious, when commerce was exercised on a very extensive scale, when wealth was generally diffused, when knowledge was far advanced, and the sciences deeply cultivated.- -We cannot argue, from the production of a refined and learned prince, writing in the midst of regal pomp, and of a splendid and enlightened court.--The Song of Solomon is, manifestly, the production of an advanced state of man.-A mildness of temperament, a calm serenity, a sweetness and innocence of manner, are essential to pastoral poetry: and all these are wholly foreign from the turbulent temper, and violent disposition, of the heroic ages-besides, in those times of violence and turbulence, the profession of the warrior was the only one, which was held honourable; the peaceable unassuming employment of the shepherd was despised, and, of course, his pursuits, his pains, or his pleasures, could not engross much public regard, or become the themes of a popular species of poetry. The spirit of the times required something more energetic and ardent, more expressive of the strong passions, the vigorous and unrestrained feelings, the grandeur of mind and elevation of thought, the |