SHAKESPEARE AND HIS CONTEMPORARIES. siter the Pain.ing 'ý John Paid, engraved by Sariain. iding gure of Shakespeares left is that of St Wolter Raleigh. Soaper of the Lail 44 OF Seated fr clad with h bex to the spectajor, Sir Robert Cut ton, with Desger or his right. leones se peate are Ben Jonson Do: th, and D) I I diately behind Stakesigure seated at the heat of the table is Bacon, and with Fin: are scat AF Aher, Dorset, and Camden. In the rear of the seated group stands Beaumont with his hand extended and aext o him stands Selden with Sylvester on the sperator's extreme left Joha Vaed, the painter of this group, was born in Scotland in 1820. V writer was recognized at once, and as far back as 1733 we find Swift giving such advice as is still given to those who are in training for a career of criticism::- "Get scraps of Horace from your friends, Wise Dennis and profound Bossu; AN ON EPIC POETRY (Addressed to John, Earl of Mulgrave) N HEROIC poem (truly such) is undoubtedly the greatest work which the soul of man is capable to perform. The design of it is to form the mind to heroic virtue by example; it is conveyed in verse that it may delight while it instructs. The action of it is always one, entire, and great. The least and most trivial episodes or underactions which are interwoven in it are parts either necessary or convenient to carry on the main design either so necessary that without them the poem must be imperfect, or so convenient that no others can be imagined more suitable to the place in which they are. There is nothing to be left void in a firm building; even the cavities ought. not to be filled with rubbish which is of a perishable kind, -destructive to the strength, but with brick or stone (though of less pieces, yet of the same nature), and fitted to the crannies. Even the least portions of them must be of the epic kind; all things must be grave, majestical, and sublime; nothing of a foreign nature, like the trifling novels which Ariosto and others have inserted in their poems, by which the reader is misled into another sort of pleasure, opposite to that which is designed in an epic poem. One raises the soul and hardens it to virtue; the other softens it again and unbends it into vice. One conduces to the poet's aim (the completing of his work), which he is driving on, laboring, and hastening in every line; the other slackens his pace, diverts him from his way, and locks him up like a knight-errant in an enchanted castle when he should be pursuing his first adventure. Statius (as Bossu has well observed) was ambitious of trying his strength with his master, Virgil, as Virgil had before tried his with Homer. The Grecian gave the two Romans an example in the games which were celebrated at the funerals of Patroclus. Virgil imitated the invention of Homer, but changed the sports. But both the Greek and Latin poet took their occasions from the subject, though (to confess the truth) they were both ornamental, or, at best, convenient parts of it, rather than of necessity arising from it. Statius (who through his whole poem is noted for want of conduct and judgment), instead of staying, as he might have done, for the death of Capaneus, Hippomedon, Tydeus, or some other of his Seven Champions (who are heroes all alike), or more properly for the tragical end of the two brothers whose exequies the next successor had leisure to perform when the siege was raised, and in the interval betwixt the poet's first action and his second, went out of his way - as it were, on prepense malice to commit a fault; for he took his opportunity to kill a royal infant by the means of a serpent (that author of all evil) to make way for those funeral honors which he intended for him. Now if this innocent had been of any relation to his Thebais, if he had either furthered or hindered the taking of the town, the poet might have found some sorry excuse at least for detair'ng the reader from the promised siege. On these terms this Capaneus of a poet engaged his two immortal predecessors, and his success was answerable to his enterprise. If this economy must be observed in the minutest parts of an epic poem, which to a common reader seem to be detached from the body and almost independent of it, what soul, though sent into the world with great advantages of nature, cultivated with the liberal arts and sciences, conversant with histories of the dead, and enriched with observations on the living, can be sufficient to inform the whole body of so great a work? I touch here but transiently, without any strict method, on some few of those many rules of imitating nature which Aristotle drew from Homer's "Iliads" and "Odysseys," and which he fitted to the drama furnishing himself also with observations from the practice of the theatre when it flourished under Eschylus, Euripides, and Sophocles (for the original of the stage was from the epic poem). Narration, doubtless, preceded acting, and gave laws to |