haps, for the same reason, he may hereafter be published in Usum Reipublicæ. I do not scruple to prefer Statius to Virgil; his images are strongly conceived, and clearly painted, and the force of his language, while it makes the reader feel, proves that the author felt himself.
The power of Story is strikingly exemplified in the Italian Poets: they please universally, even in Translations. In the proportioning of his character, Tasso has generally failed. Godfrey is the hero of the poem, Rinaldo of the poet, and Tancred of the reader. Secondary characters should not be introduced like Gyas and Cloanthus; merely to fill a procession; neither should they be so prominent as to throw the principal into shade.
The lawless magic of Ariosto, and the singular theme as well as the singular excellence of Milton, render all rules of epic poetry inapplicable to these authors: so likewise with Spenser, the favourite of my childhood, from whose frequent perusal I have always found increased delight.
Against the machinery of Camoens, a heavier charge must be brought than that of profaneness or incongruity. His floating island is but a floating brothel, and no beauty can make atonement for licentiousness. The Lusiad, though excellent in parts, is uninteresting as a whole: it is read without interest, and remembered without pleasure.
The two poems of Glover have indeed the body of poetry, but there is no animating spirit: yet the Scholar must be pleased with their classical propriety, and the young heart will feel itself warmed by the struggle and success of free men.
It has been established as a necessary rule for the Epic, that the subject be national. To this rule I have acted in direct opposition, and chosen for the subject of my poem the defeat of my country. If among my readers there be one who can wish success to injustice, because his countrymen supported it, I desire not that man's approbation.
