DOI Page / Citation link:
https://doi.org/10.11588/diglit.48955#0173
Ch. XXII. COMPOSITIONS. 167
tural means: one bed cannot receive the two lo-
vers , ?Eneas and Dido, without the immediate in-
terposition os superior powers. The ridiculous in
such sictions, must appear even through the thick-
est veil of gravity and solemnity.
Angels and devils serve equally with Meathen
deities as materials for figurative language; per-
haps better among Christians, because we believe
in them, and notin Heathen deities. But every
one is sensible, as well as Boileau , that the invisi-
ble powers in our creed make a much, worse figure
as actors in a modern poem , than the invisible
powers in the Heathen creed did in ancient poems;
the cause of which is not far to seek. The Hea-
then deities, in the opinion of their votaries, were
beings elevated one step only above mankind, sub-
jedto the same passions, and directed by the same
motives; therefore not altogether improper to mix
with men in an important assion. In our creed,
superior beings are placed at such a mighty distance
from us, and are of a nature so disferent, that with
no propriety can we appear with them upon the
same stage: man a creature much inferior, loies
all dignity in the companion.
There can be no doubt, that a historical poem
admits the embellilhment of allegory, as well as
of metaphor, simile, or other figure. Moral truth,
in particular; is finely illustrated in the allegorical
manner: it amuses the fancy to find abstrad terms,
by a sort of magic, metamorphosed into ailiveb©“
tural means: one bed cannot receive the two lo-
vers , ?Eneas and Dido, without the immediate in-
terposition os superior powers. The ridiculous in
such sictions, must appear even through the thick-
est veil of gravity and solemnity.
Angels and devils serve equally with Meathen
deities as materials for figurative language; per-
haps better among Christians, because we believe
in them, and notin Heathen deities. But every
one is sensible, as well as Boileau , that the invisi-
ble powers in our creed make a much, worse figure
as actors in a modern poem , than the invisible
powers in the Heathen creed did in ancient poems;
the cause of which is not far to seek. The Hea-
then deities, in the opinion of their votaries, were
beings elevated one step only above mankind, sub-
jedto the same passions, and directed by the same
motives; therefore not altogether improper to mix
with men in an important assion. In our creed,
superior beings are placed at such a mighty distance
from us, and are of a nature so disferent, that with
no propriety can we appear with them upon the
same stage: man a creature much inferior, loies
all dignity in the companion.
There can be no doubt, that a historical poem
admits the embellilhment of allegory, as well as
of metaphor, simile, or other figure. Moral truth,
in particular; is finely illustrated in the allegorical
manner: it amuses the fancy to find abstrad terms,
by a sort of magic, metamorphosed into ailiveb©“