or unknown to him; so that if he should choose either the downfall of Man, as Milton, or his rehabilitation, after the example of Klopstock, he would be able to acquaint himself with the inner meaning of these mysteries, to explain all the conditions, to comprehend the beginning and the end, and, raising himself to the intellectual nature where they had birth, to spread light upon physical nature. This is the first attainment that I deem indispensable to the epic poet; I say that he should understand what he would sing. Homer knew what Ilium was, what Ithaca was; he could explain to himself the nature of Achilles and Helen, of Penelope and Ulysses; consequently he could depict them. I do not wish to investigate here whether Milton has understood in the same manner the beginning of the World and the nature of Satan; nor whether Klopstock has well understood the mystery of the incarnation of the Messiah. I only say that if they have not understood these things, they cannot sing them in a manner really epic.
A defect which is common to these two poets, and which is even noticeable in the Jerusalem Delivered of Tasso, is, that everything which does not pertain to the part of the celebrated hero, is by its impure, unfaithful, impious nature, governed by the Principle of evil, and as such consigned to eternal damnation. An insurmountable barrier separates the personages and makes them not alone enemies, but opposed, as much as good and evil, light and darkness. However, the passions act unknown even to the poet; the reader is hurried along, he forgets the fatal line of demarcation, and is deceived into becoming interested in Satan, into finding great, beautiful, and terrible, this enemy of mankind; he trusts in Armida, he is moved by her troubles, and seconds with his vows those of a notorious magician, instrument of the Infernal Spirit. Matters go not thus with Homer. The Greeks see in the Trojans, enemies, and not reprobates. Paris is culpable but not impious. Hector is a hero in whom one can be interested without
