a work of such length, how small a number of lines are employed in narration. In Virgil, the dramatic part is less in proportion to the narrative; and the speeches often consist of general reflections or thoughts, which might be equally just in any person's mouth upon the same occasion. As many of his persons have no apparent characters, so many of his speeches escape being applied and judged by the rule of propriety. We oftener think of the author himself when we read Virgil than when we are engaged in Homer; all which are the effects of a colder invention, that interests us less in the action described: Homer makes us hearers, and Virgil leaves us readers.
If in the next place we take a view of the sentiments, the same presiding faculty is eminent in the sublimity and spirit of his thoughts. Longinus has given his opinion that it was in this part Homer principally excelled. What were alone sufficient to prove the grandeur and excellence of his sentiments in general, is, that they have so remarkable a parity with those of the Scripture: Duport, in his Gnomologia Homerica, has collected innumerable instances of this sort. And it is with justice an excellent modern writer allows, that if Virgil has not so many thoughts that are low and vulgar, he has not so many that are sublime and noble; and that the Roman author seldom rises into very astonishing sentiments where he is not fired by the Iliad.
If we observe his descriptions, images, and similes, we shall find the invention still predominant. To what else can we ascribe the vast comprehension of images of every sort, where we see each circumstance of art and individual of nature summoned together, by the extent and fecundity of his imagination; to which all things, in their various views, presented themselves in an instant, and had their impressions taken off to perfection, at a heat? Nay, he not only gives us the full prospects of things, but several unexpected peculiarities and side-views, unobserved by any painter but Homer. Nothing is so surprising as the descriptions of his battles, which take up no less than half the Iliad, and are supplied with so vast a variety of incidents, that no one bears a likeness to another; such different kinds of deaths, that no two heroes are wounded in the same manner; and such a profusion of noble ideas, that every battle rises above the last in greatness, horror, and confusion. It is certain there is not near the number of images and descriptions in any Epic poet; though every one has assisted himself with a great quantity out of him: and it is evident of Virgil especially, that he has scarce any comparisons which are not drawn from his master.
