The Iliad: of Homer. Translated by Mr. Pope. [pt.5]

THE EIGHTEENTH BOOK OF THE ILIAD.

The ARGUMENT.

The Grief of Achilles, and new Armour made him by Vulcan.

THE News of the Death of Patroclus, is brought to Achil|les by Antilochus. Thetis hearing his Lamentati|ons comes with all her Sea-Nymphs to comfort him. The Speeches of the Mother and Son on this Occasion. Iris appears to Achilles by the Command of Juno, and orders him to shew himself at the Head of the Intrenchments. The Sight of him turns the Fortune of the Day, and the Body of Patroclus is carried off by the Greeks. The Trojans call a Council, where Hector and Polydamas disagree in their Opinions; but the Ad|vice of the former prevails, to remain encamp'd in the Field: The Grief of Achilles over the Body of Patroclus.

Thetis goes to the Palace of Vulcan to obtain new Arms for her Son. The Description of the wonderful Works of Vulcan, and lastly, that noble one of the Shield of Achilles.

The latter part of the nine and twentieth Day, and the Night ensuing, take up this Book. The Scene is at Achilles's Tent on the Sea-shore, from whence it changes to the Palace of Vulcan.

THE EIGHTEENTH BOOK OF THE ILIAD.

THUS like the Rage of Fire the Combat burns, And now it rises, now it sinks by turns. Meanwhile, where Hellespont's broad Waters flow Stood Nestor's Son, the Messenger of Woe: There sate Achilles, shaded by his Sails, On hoisted Yards extended to the Gales; Pensive he sate; for all that Fate design'd, Rose in sad Prospect to his boding Mind. Thus to his Soul he said. Ah! what constrains The Greeks, late Victors, now to quit the Plains?Line 10 Is this the Day, which Heav'n so long ago Ordain'd, to sink me with the Weight of Woe?

(So Thetis warn'd) when by a Trojan Hand, The bravest of the Myrmidonian Band Should lose the Light? Fulfill'd is that Decree;Line 15 Fal'n is the Warrior, and Patroclus he! In vain I charg'd him soon to quit the Plain, And warn'd to shun Hectorean Force in vain!

Thus while he thinks, Antilochus appears, And tells the melancholy Tale with Tears.Line 20 Sad Tydings, Son of Peleus! thou must hear; And wretched I, th'unwilling Messenger! Dead is Patroclus! For his Corps they fight; His naked Corps: His Arm's are Hector's Right.

A sudden Horror shot thro' all the Chief,Line 25 And wrapt his Senses in the Cloud of Grief; Cast on the Ground, with furious Hands he spread The scorching Ashes o'er his graceful Head; His purple Garments, and his golden Hairs, Those he deforms with Dust, and these he tears:Line 30 On the hard Soil his groaning Breast he threw, And roll'd and grovel'd, as to Earth he grew. The Virgin Captives, with disorder'd Charms, (Won by his own, or by Patroclus' Arms) Line 35

Rush'd from the Tents with Cries; and gath'ring roundLine 35 Beat their white Breasts, and fainted on the Ground: While Nestor's Son sustains a manlier Part, And mourns the Warrior with a Warrior's Heart; Hangs on his Arms, amidst his frantic Woe, And oft prevents the meditated Blow.Line 40

Far in the deep Abysses of the Main, With hoary Nereus, and the watry Train, The Mother Goddess from her crystal Throne Heard his loud Cries, and answer'd Groan for Groan. The circling Nereids with their Mistress weep, And all the Sea-green Sisters of the Deep. Thalia, Glauce, (ev'ry wat'ry Name) Nesaea mild, and Silver Spio came. Cymothoe and Cymodoce were nigh, And the blue Languish of soft Alia's Eye.Line 50 Their Locks Actaea and Limnoria rear, Then Proto, Doris, Panope appear; Thoa, Pherusa, Doto, Melita; Agave gentle, and Amphithoe gay: Next Callianira, Callianassa showLine 55 Their Sister Looks; Dexamene the slow,

And swift Dynamene, now cut the Tydes: Iaera now the verdant Wave divides; Nemertes with Apseudes lifts the Head: Bright Galatea quits her pearly Bed:Line 60 These Orythia, Clymene, attend, Maera, Amphinome, the Train extend, And black Janira, and Janassa fair, And Amatheia with her amber Hair. All these, and all that deep in Ocean heldLine 65 Their sacred Seats, the glimm'ring Grotto fill'd; Each beat her Iv'ry Breast with silent Woe, Till Thetis' Sorrows thus began to flow.

Hear me, and judge, ye Sisters of the Main! How just a Cause has Thetis to complain?Line 70 How wretched, were I mortal, were my Fate! How more than wretched in th'immortal State! Sprung from my Bed a god-like Hero came, The bravest far that ever bore the Name; Like some fair Olive, by my careful HandLine 75 He grew, he flourish'd, and adorn'd the Land: To Troy I sent him; but the Fates ordain He never, never must return again.

So short a space the Light of Heav'n to view, So short alas! and fill'd with Anguish too?Line 80 Hear how his Sorrows echo thro' the Shore! I cannot ease them, but I must deplore; I go at least to bear a tender part, And mourn my lov'd one with a Mother's Heart.

She said, and left the Caverns of the Main.Line 85 All bath'd in Tears, the melancholy Train Attend her Way. Wide-opening part the Tides, While the long Pomp the silver Wave divides. Approaching now, they touch'd the Trojan Land; Then, two by two, ascended up the Strand.Line 90 Th'immortal Mother, standing close beside Her mournful Offspring, to his Sighs reply'd; Along the Coast their mingled Clamours ran, And thus the silver-footed Dame began.

Why mourns my Son? thy late-preferr'd RequestLine 95 The God has granted, and the Greeks distrest: Why mourns my Son? thy Anguish let me share, Reveal the Cause, and trust a Parent's Care.

He, deeply groaning—To this cureless Grief Not ev'n the Thund'rers Favour brings Relief.Line 100

Patroclus—Ah!—Say Goddess can I boast A Pleasure now? Revenge itself is lost: Patroclus, lov'd of all my martial Train, Beyond Mankind, beyond my self, is slain! Lost are those Arms the Gods themselves bestow'dLine 105 On Peleus; Hector bears the glorious Load. Curs'd be that Day, when all the Pow'rs above Thy Charms submitted to a mortal Love: Oh had'st thou still, a Sister of the Main, Pursu'd the Pleasures of the wat'ry Reign;Line 110 And happier Peleus, less ambitious, led A mortal Beauty to his equal Bed! E'er the sad Fruit of thy unhappy Womb Had caus'd such Sorrows past, and Woes to come. For soon alas! that wretched Offspring slain,Line 115 New Woes, new Sorrows shall create again: 'Tis not in Fate th'Alternate now to give; Patroclus dead, Achilles hates to live. Let me revenge it on proud Hector's Heart, Let his last Spirit smoak upon my Dart;Line 120 On these Conditions will I breathe: Till then, I blush to walk among the Race of Men.

A Flood of Tears, at this, the Goddess shed: Ah then, I see thee dying, see thee dead! When Hector falls, thou dy'st.—Let Hector die,Line 125 And let me fall! (Achilles made reply) Far lyes Patroclus from his native plain! He fell, and falling wish'd my Aid in vain. Ah then, since from this miserable Day I cast all hope of my Return away,Line 130 Since unreveng'd, a hundred Ghosts demand The Fate of Hector from Achilles' hand; Since here, for brutal Courage far renown'd, I live an idle Burden to the Ground, (Others in Council fam'd for nobler Skill,Line 135 More useful to preserve, than I to kill) Let me—But oh! ye gracious Pow'rs above! Wrath and Revenge from Men and Gods remove: Far, far too dear to ev'ry mortal Breast, Sweet to the Soul, as Hony to the Taste;Line 140 Gath'ring like Vapours of a noxious kind From fiery Blood, and dark'ning all the Mind. Me Agamemnon urg'd to deadly Hate; 'Tis past—I quell it; I resign to Fate. Line 145

Yes—I will meet the Murd'rer of my Friend,Line 145 Or (if the Gods ordain it) meet my End. The Stroke of Fate the bravest cannot shun: The great Alcides, Jove's unequal'd Son, To Juno's Hate at length resign'd his Breath, And sunk the Victim of all-conqu'ring Death.Line 150 So shall Achilles fall! stretch'd pale and dead, No more the Grecian Hope, or Trojan Dread! Let me, this instant, rush into the Fields, And reap what Glory Life's short Harvest yields. Shall I not force some widow'd Dame to tearLine 155 With frantic Hands, her long dishevell'd Hair? Shall I not force her Breast to heave with Sighs, And the soft Tears to trickle from her Eyes? Yes, I shall give the Fair those mournful Charms— In vain you hold me—Hence! my Arms, my Arms!Line 160 Soon shall the sanguine Torrent spread so wide, That all shall know, Achilles swells the Tide.

My Son (Coerulean Thetis made reply, To Fate submitting with a secret Sigh) The Host to succour, and thy Friends to save,Line 165 Is worthy thee; the Duty of the Brave.

But can'st thou, naked, issue to the Plains? Thy radiant Arms the Trojan Foe detains. Insulting Hector bears the Spoils on high, But vainly glories, for his Fate is nigh.Line 170 Yet, yet awhile, thy gen'rous Ardor stay; Assur'd, I meet thee at the dawn of Day, Charg'd with refulgent Arms (a glorious Load) Vulcanian Arms, the Labour of a God.

Then turning to the Daughters of the Main,Line 175 The Goddess thus dismiss'd her azure Train.

Ye Sister Nereids! to your Deeps descend, Haste, and our Fathers sacred Seat attend, I go to find the Architect divine, Where vast Olympus starry Summits shine:Line 180 So tell our hoary Sire—This Charge she gave: The Sea-green Sisters plunge beneath the Wave: Thetis once more ascends the blest Abodes, And treads the brazen Threshold of the Gods.

And now the Greeks, from furious Hector's Force,Line 185 Urge to broad Hellespont their headlong Course: Nor yet their Chiefs Patroclus' Body bore Safe thro' the Tempest, to the Tented Shore.

The Horse, the FOot, with equal Fury join'd, Pour'd on the Rear, and thunder'd close behind;Line 190 And like a Flame thro' Fields of ripen'd Corn, The Rage of Hector o'er the Ranks was born: Thrice the slain Hero by the Foot he drew; Thrice to the Skies the Trojan Clamours flew. As oft' th' Ajaces his Assault sustain;Line 195 But check'd, he turns; repuls'd, attacks again. With fiercer Shouts his ling'ring Troops he fires, Nor yields a Step, nor form his Post retires: So watchful Sheperds strive to force, in vain, The hungry Lion from a Carcase slain.Line 200 Ev'n yet, Patroclus had he born away, And all the Glories of th'extended Day; Had not high Juno, from the Realme of Air, Secret, dispatch'd her trusty Messenger. The various Goddess of the painted Bow,Line 205 Shot in a Whirlwind to the Shore below; To great Achilles at his Ships she came, And thus began the many-colour'd Dame.

Rise, Son of Peleus! rise divinely brave! Assist the Combate, and Patroclus save:Line 210

For him the Slaughter to the Fleet they spread, And fall by mutual Wounds around the Dead. To drag him back to Troy the Foe contends; Nor with his Death the Rage of Hector ends: A Prey to Dogs he dooms the Corse to lye,Line 215 And marks the Place to fix his Head on high. Rise, and prevent (if yet thou think of Fame) Thy Friend's Disgrace, thy own eternal Shame!

Who sends thee, Goddess! from th'Etherial Skies? Achilles thus. And Iris thus replies.Line 220 I come, Pelides! from the Queen of Jove, Th'immortal Empress of the Reamls above; Unknown to him who sits remote on high, Unknown to all the Synod of the Sky. Thou com'st in vain, he cries (with Fury warm'd)Line 225 Arms I have none, and can I fight unarm'd? Unwilling as I am, of force I stay, Till Thetis bring me at the dawn of Day Vulcanian Arms: What other should I wield? Except the mighty Telamonian Shield?Line 230 That, in my Friends Defence, has Ajax spread, While his strong Lance around him heaps the Dead:

The gallant Chief defends Menoetius' Son, And does, what his Achilles should have done.

Thy want of Arms (said Iris) well we know,Line 235 But tho' unarm'd, yet clad in Terrors, go! Let but Achilles o'er yon' Trench appear, Proud Troy shall tremble, and consent to fear; Greece from one Glance of that tremendous Eye Shall take new Courage, and disdain to fly.Line 240

She spoke, and past in Air. The Hero rose; Her Aegis, Pallas o'er his Shoulders throws; Around his Brows a golden Cloud she spread; A Stream of Glory flam'd above his Head. As when from some beleagur'd Town ariseLine 245 The Smokes high-curling to the shaded Skies; (Seen from some Island o'er the Main afar, When Men distrest hang out the Sign of War) Soon as the Sun in Ocean hides his Rays, Thick on the Hills the flaming Beacons blaze;Line 250 With long-projected Beams the Seas are bright, And Heav'ns high Arch reflects the ruddy Light: So from Achilles' Head the Splendours rise, Reflecting Blaze on Blaze, against the Skies Line 255

Forth march'd the Chief, and distant from the Croud,Line 255 High on the Rampart rais'd his Voice aloud; With her own Shout Minerva swells the Sound; Troy starts astonish'd, and the Shores rebound. As the loud Trumpet's brazen Mouth from far With shrilling Clangor sounds th' Alarm of War,Line 260 Struck from the Walls, the Echoes float on high, And the round Bulwarks, and thick Tow'rs reply, So high his brazen Voice the Hero rear'd, Hosts drop their Arms, and trembled as they heard; And back the Chariots roll, and Coursers bound,Line 265 And Steeds and Men lye mingled on the Ground. Aghast they see the living Light'nings play, And turn their Eye-balls from the flashing Ray. Thrice from the Trench his dreadful Voice he rais'd; And thrice they fled, confounded and amaz'd.Line 270 Twelve in the Tumult wedg'd, untimely rush'd On their own Spears, by their own Chariots crush'd: While shielded from the Darts, the Greeks obtain The long-contended Carcase of the Slain.

A lofty Bier the breathless Warrior bears:Line 275 Around, his sad Companions melt in Tears

But chief Achilles, bending down his Head, Pours unavailing Sorrows o'er the Dead. Whom late, triumphant with his Steeds and Car, He sent refulgent to the Field of War,Line 280 (Unhappy Change!) now senseless, pale, he found, Stretch'd forth, and gash'd with many a gaping Wound.

Meantime, unweary'd with his heavenly Way, In Ocean's Waves th'unwilling Light of Day Quench his red Orb, at Juno's high Command,Line 285 And from their Labours eas'd th' Achaian Band. The frighted Trojans (panting from the War, Their Steeds unharness'd from the weary Car) A sudden Council call'd: Each Chief appear'd In haste, and standing; for to sit they fear'd.Line 290 'Twas now no Season for prolong'd Debate; They saw Achilles, and in him their Fate. Silent they stood: Polydamas at last, Skill'd to discern the Future by the past, The Son of Panthus, thus exprest his Fears;Line 295 (The Friend of Hector, and of equal Years: The self same Night to both a Being gave, One wise in Council, one in Action brave.)

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In free Debate, my Friends, your Sentence speak: For me, I move, before the Morning breakLine 300 To raise our Camp: Too dang'rous here our Post, Far from Troy Walls, and on a naked Coast. I deem'd not Greece so dreadful, while engag'd In mutual Feuds, her King and Hero rag'd; Then, while we hop'd our Armies might prevail,Line 305 We boldly camp'd beside a thousand Sail. I dread Pelides now: his Rage of Mind Not long continues to the Shores confin'd, Nor to the Fields, where long in equal Fray Contending Nations won and lost the Day;Line 310 For Troy, for Troy, shall henceforth be the Strife, And the hard Contest not for Fame, but Life. Haste then to Ilion, while the fav'ring Night Detains those Terrors, keeps that Arm from Fight; If but the Morrow's Sun behold us here,Line 315 That Arm, those Terrors, we shall feel, not fear; And Hearts that now disdain, shall leap with Joy, If Heav'n permits them then to enter Troy. Let not my fatal Prophecy be true, Nor what I tremble but to think, ensue.Line 320

Whatever be our Fate, yet let us try What Force of Thought and Reason can supply; Let us on Counsel for our Guard depend; The Town, her Gates and Bulwarks shall defend: When Morning dawns, our well-appointed Pow'rsLine 325 Array'd in Arms, shall line the lofty Tow'rs. Let the fierce Hero then, when Fury calls, Vent his mad Vengeance on our rocky Walls, Or fetch a thousand Circles round the Plain, Till his spent Coursers seek the Fleet again:Line 330 So may his Rage be tir'd, and labour'd down; And Dogs shall tear him, e'er he sack the Town.

Return? (said Hector, fir'd with stern Disdain) What, coop whole Armies in our Walls again? Was't not enough, ye valiant Warriors say,Line 335 Nine Years imprison'd in those Tow'rs ye lay? Wide o'er the World was Ilion fam'd of old For Brass exhaustless, and for Mines of Gold: But while inglorious in her Walls we stay'd, Sunk were her Treasures, and her Stores decay'd;Line 340 The Phrygians now her scatter'd spoils enjoy, And proud Maeonia wasts the Fruits of Troy.

Great Jove at length my Arms to Conquest calls, And shuts the Grecians in their wooden Walls: Dar'st thou dispirit whom the Gods incite?Line 345 Flies any Trojan? I shall stop his Flight. To better Counsel then Attention lend, Take due Refreshment, and the Watch attend. If there be one whose Riches cost him Care, Forth let him bring them, for the Troops to share;Line 350 'Tis better gen'rously bestow'd on those, Than left the Plunder of our Country's Foes. Soon as the Morn the rosie Welkin warms Fierce on yon' Navy will we pour our Arms. If great Achilles rise in all his Might,Line 355 His be the Danger: I shall stand the Fight. Honor, ye Gods! or let me gain, or give; And live he glorious, whosoe'er shall live! Mars is our common Lord, alike to all; And oft' the Victor triumphs, but to fall.Line 360

The shouting Host in loud Applauses join'd; So Pallas robb'd the Many of their Mind, To their own Sense condemn'd! and left to chuse The worse Advice, the better to refuse.

While the long Night extends her sable Reign,Line 365 Around Patroclus mourn'd the Grecian Train. Stern in superior Grief Pelides stood; Those slaught'ring Arms, so us'd to bathe in Blood, Now clasp his clay-cold Limbs: Then gushing start The Tears, and Sighs burst from his swelling Heart.Line 370 The Lion thus, with dreadful Anguish stung, Roars thro' the Desart, and demands his Young; When the grim Savage to his rifled Den Too late returning, snuffs the Track of Men, And o'er the Vales, and o'er the Forrest bounds;Line 375 His clam'rous Grief the bellowing Wood resounds. So grieves Achilles; and impetuous, vents To all his Myrmidons, his loud Laments.

In what vain Promise, Gods! did I engage? When to console Menaetius' feeble Age,Line 380 I vow'd his much-lov'd Offspring to restore, Charg'd with rich Spoils, to fair Opuntia's Shore! But mighty Jove cuts short, with just Disdain, The long, long Views of poor, designing Man! One Fate the Warrior and the Friend shall strike,Line 385 And Troy's black Sands must drink our Blood alike:

Me too, a wretched Mother shall deplore, An aged Father never see me more! Yet, my Patroclus! yet a space I stay, Then swift pursue thee on the darksome way.Line 390 E'er thy dear Relicks in the Grave are laid, Shall Hector's Head be offer'd to thy Shade; That, with his Arms, shall hang before thy Shrine, And twelve, the noblest of the Trojan Line, Slain by this Hand, sad Sacrifice! expire;Line 395 Their Lives effus'd around thy flaming Pyre. Thus let me lie till then! thus, closely prest, Bathe thy cold Face, and sob upon thy Breast! While Trojan Captives here thy Mourners stay, Weep all the Night, and murmur all the Day:Line 400 Spoils of my Arms, and thine; when, wasting wide, Our Swords kept time, and conquer'd side by side.

He spoke, and bid the sad Attendants round Cleanse the pale Corse, and wash each honour'd Wound. A massy Caldron of stupendous FrameLine 405 They brought, and plac'd it o'er the rising Flame: Then heap the lighted Wood; the Flame divides Beneath the Vase, and climbs around the Sides:

In its wide Womb they pour the rushing Stream; The boiling Water bubbles to the Brim:Line 410 The Body then they bathe with pious Toil, Embalm the Wounds, anoint the Limbs with Oyl; High on a Bed of State extended laid, And decent cover'd with a linen Shade; Last o'er the Dead the milkwhite Linen threw;Line 415 That done, their Sorrows and their Sighs renew.

Meanwhile to Juno, in the Realms above, (His Wife and Sister) spoke almighty Jove. At last thy Will prevails: Great Peleus' Son Rises in Arms: Such Grace thy Greeks have won.Line 420 Say (for I know not) is their Race divine, And thou the Mother of that martial Line?

What Words are these (th'Imperial Dame replies, While Anger flash'd from her majestick Eyes) Succour like this a mortal Arm might lend,Line 425 And such Success mere human Wit attend: And shall not I, the second Pow'r above, Heav'ns Queen, and Consort of the thund'ring Jove, Say, shall not I one Nation's Fate command, Not wreak my Vengeance on one guilty Land?Line 430

So they. Meanwhile the silver-footed Dame Reach'd the Vulcanian Dome, Eternal Frame! High eminent amid the Works divine, Where Heav'ns far-beaming, brazen Mansions shine. There the lame Architect the Goddess found,Line 435 Obscure in Smoak, his Forges flaming round, While bath'd in Sweat from Fire to Fire he flew, And puffing loud, the roaring Bellows blew. That Day, no common Task his Labour claim'd: Full twenty Tripods for his Hall he fram'd,Line 440 That plac'd on living Wheels of massy Gold, (Wond'rous to tell) instinct with Spirit roll'd From Place to Place, around the blest Abodes, Self-mov'd, obedient to the Beck of Gods: For their fair Handles now, o'erwrought with Flow'rs,Line 445 In Molds prepar'd, the glowing Ore he pours. Just as responsive to his Thought, the Frame Stood prompt to move, the Azure Goddess came: Charis, his Spouse, a Grace divinely fair, (With purple Fillets round her braided Hair)Line 450 Observ'd her ent'ring; her soft Hand she press'd, And smiling, thus the wat'ry Queen address'd.

What, Goddess! this unusual Favour draws? All hail, and welcome! whatsoe'er the Cause: Till now a Stranger, in a happy HourLine 455 Approach, and taste the Dainties of the Bow'r.

High on a Throne, with Stars of silver grac'd And various Artifice, the Queen she plac'd; A Footstool at her Feet: then calling, said, Vulcan draw near, 'tis Thetis asks your Aid.Line 460

Thetis (reply'd the God) our Pow'rs may claim, An ever dear, and ever honour'd Name! When my proud Mother hurl'd me from the Sky, (My aukward Form, it seems, displeas'd her Eye) She, and Eurynome, my Griefs redrest,Line 465 Tnd soft receiv'd me on their silver Breast. Ev'n then, these Arts employ'd my infant Thought; Chains, Bracelets, Pendants, all their Toys I wrought. Nine Years kept secret in the dark Abode,Line 470 Secure I lay, conceal'd from Man and God: Deep in a cavern'd Rock my Days were led; The rushing Ocean murmur'd o'er my Head. Now since her Presence glads our Mansion, say, For such Desert what Service can I pay?Line 475

Vouchsafe, O Thetis! at our Board to share The genial Rites, and hospitable Fare; While I my Labours of the Forge forego, And bid the roaring Bellows cease to blow.

Then from his Anvil the lame Artist rose;Line 480 Wide with distorted Legs, oblique he goes, And stills the Bellows, and (in order laid) Locks in their Chest his Instruments of Trade. Then with a Sponge the sooty Workman drest His brawny Arms imbrown'd, and hairy Breast.Line 485 With his huge Scepter grac'd, and red Attire, Came halting forth the Sov'reign of the Fire: The Monarch's Steps two Female Forms uphold, That mov'd, and breath'd, in animated Gold; To whom was Voice, and Sense, and Science givenLine 490 Of Works divine (such Wonders are in Heav'n!) On these supported, with unequal Gait, He reach'd the Throne where pensive Thetis sate; There plac'd beside her on the shining Frame, He thus address'd the silver-footed Dame.Line 495

Thee, welcome Goddess! what Occasion calls, (So long a Stranger) to these honour'd Walls?

'Tis thine, fair Thetis, the Command to lay, And Vulcan's Joy, and Duty, to obey,

To whom the mournful Mother thus replies,Line 500 (The crystal Drops stood trembling in her Eyes) Oh Vulcan! say, was ever Breast divine So pierc'd with Sorrows, so o'erwhelm'd as mine? Of all the Goddesses, did Jove prepare For Thetis only such a Weight of Care?Line 505 I, only I, of all the wat'ry Race, By Force subjected to a Man's Embrace, Who, sinking now with Age, and Sorrow, pays The mighty Fine impos'd on length of Days. Sprung from my Bed a god-like Hero came,Line 510 The bravest sure that ever bore the Name; Like some fair Plant beneath my careful Hand He grew, he flourish'd, and he grac'd the Land: To Troy I sent him! but his native Shore Never, ah never, shall receive him more;Line 515 (Ev'n while he lives, he wastes with secret Woe) Nor I, a Goddess, can retard the Blow! Robb'd of the Prize the Grecian Suffrage gave, The King of Nations forc'd his royal Slave: Line 520

For this he griev'd; and till the Greeks opprestLine 520 Requir'd his Arm, he sorrow'd unredrest. Large Gifts they promise, and their Elders send; In vain—He arms not, but permits his Friend His Arms, his Steeds, his Forces to employ; He marches, combates, almost conquers Troy:Line 525 Then slain by Phoebus (Hector had the Name) At once resigns his Armour, Life, and Fame. But thou, in Pity, by my Pray'r be won; Grace with immortal Arms this short-liv'd Son, And to the Field in martial Pomp restore,Line 530 To shine with Glory, till he shines no more!

To her the Artist-God. Thy Griefs resign, Secure, what Vulcan can, is ever thine. O could I hide him from the Fates as well, Or with these Hands the cruel Stroke repell, As I shall forge most envy'd Arms, the GazeLine 535 Of wond'ring Ages, and the World's Amaze!

Thus having said, the Father of the Fires To the black Labours of his Forge retires. Soon as he bade them blow, the Bellows turn'd Their iron Mouths; and where the Furnace burn'd,Line 540

Resounding breath'd: At once the Blast expires, And twenty Forges catch at once the Fires; Just as the God directs, now loud, now low, They raise a Tempest, or they gently blow. In hissing Flames huge silver Bars are roll'd,Line 545 And stubborn Brass, and Tin, and solid Gold: Before, deep fix'd, th'eternal Anvils stand; The pond'rous Hammer loads his better Hand, His left with Tongs turns the vex'd Metal round; And thick, strong Strokes, the doubling Vaults rebound.Line 550

Then first he form'd th'immense and solid Shield; Rich, various Artifice emblaz'd the Field; Its utmost Verge a threefold Circle bound; A silver Chain suspends the massy Round, Five ample Plates the broad Expanse compose,Line 555 And god-like Labours on the Surface rose. There shone the Image of the Master Mind: There Earth, there Heav'n, there Ocean he design'd; Th'unweary'd Sun, the Moon compleatly round; The starry Lights that Heav'ns high Convex crown'd;Line 560 The Pleiads, Hyads, with the Northern Team; And great Orion's more refulgent Beam;

To which, around the Axle of the Sky, The Bear revolving, points his golden Eye, Still shines exalted on th'aetherial Plain,Line 565 Nor bends his blazing Forehead to the Main.

Two Cities radiant on the Shield appear, The Image one of Peace, and one of War. Here sacred Pomp, and genial Feast delight, And solemn Dance, and Hymenaeal Rite;Line 570 Along the Street the new-made Brides are led, With Torches flaming, to the nuptial Bed; The youthful Dancers in a Circle bound To the soft Flute, and Cittern's silver Sound: Thro' the fair Streets, the Matrons in a Row,Line 575 Stand in their Porches, and enjoy the Show.

There, in the Forum swarm a num'rous Train; The Subject of Debate, a Townsman slain: One pleads the Fine discharg'd, which one deny'd, And bade the Publick and the Laws decide:Line 580 The Witness is produc'd on either Hand; For this, or that, the partial People stand: Th'appointed Heralds still the noisy Bands, And form a Ring, with Scepters in their Hands; Line 585

On Seats of Stone, within the sacred Place,Line 585 The rev'rend Elders nodded o'er the Case; Alternate, each th'attesting Scepter took, And rising solemn, each his Sentence spoke. Two golden Talents lay amidst, in sight, The Prize of him who best adjudg'd the Right.Line 590

Another Part (a Prospect diff'ring far) Glow'd with refulgent Arms, and horrid War. Two mighty Hosts a leaguer'd Town embrace, And one would pillage, one wou'd burn the Place. Meantime the Townsmen, arm'd with silent Care,Line 595 A secret Ambush on the Foe prepare: Their Wives, their Children, and the watchful Band, Of trembling Parents on the Turrets stand. They march; by Pallas and by Mars made bold; Gold were the Gods, their radiant Garments Gold,Line 600 And Gold their Armour: These the Squadron led, August, Divine, Superior by the Head! A Place for Ambush fit, they found, and stood Cover'd with Shields, beside a silver Flood. Two Spies at distance lurk, and watchful seemLine 605 If Sheep or Oxen seek the winding Stream.

Soon the white Flocks proceeded o'er the Plains, And Steers slow-moving, and two Shepherd Swains; Behind them, piping on their Reeds, they go, Nor fear an Ambush, nor suspect a Foe.Line 610 In Arms the glitt'ring Squadron rising round Rush sudden; Hills of Slaughter heap the Ground, Whole Flocks and Herds lye bleeding on the Plains, And, all amidst them, dead, the Shepherd wains! The bellowing Oxen the Besiegers hear;Line 615 They rise, take Horse, approach, and meet the War; They fight, they fall, beside the silver Flood; The waving Silver seem'd to blush with Blood. There Tumult, there Contention stood confest; One rear'd a Dagger at a Captive's Breast,Line 620 One held a living Foe, that freshly bled With new-made Wounds; another dragg'd a dead; Now here, now there, the Carcasses they tore: Fate stalk'd amidst them, grim with human Gore. And the whole War came out, and met the Eye;Line 625 And each bold Figure seem'd to live, or die.

A Field deep furrow'd, next the God design'd, The third time labour'd by the sweating Hind;

The shining Shares full many Plowmen guide, And turn their crooked Yokes on ev'ry side.Line 630 Still as at either End they wheel around, The Master meets 'em with his Goblet crown'd; The hearty Draught rewards, renews their Toil; Then back the turning Plow-shares cleave the Soil: The new-ear'd Earth in blacker Ridges roll'd;Line 635 Sable it look'd, tho form'd of molten Gold.

Another Field rose high with waving Grain; With bended Sickles stand the Reaper-Train: Here stretch'd in Ranks the level'd Swarths are found, Sheaves heap'd on Sheaves, here thicken up the Ground.Line 640 With sweeping Stroke the Mowers strow the Lands; The Gath'rers follow, and collect in Bands; And last the Children, in whose Arms are born (Too short to gripe them) the brown Sheaves of Corn. The rustic Monarch of the Field descriesLine 645 With silent Glee, the Heaps around him rise. A ready Banquet on the Turf is laid, Beneath an ample Oak's expanded Shade. The Victim-Ox the sturdy Youth prepare; The Reaper's due Repast, the Women's Care.Line 650

Next, ripe in yellow Gold, a Vineyard shines, Bent with the pond'rous Harvest of its Vines; A deaper Dye the dangling Clusters show, And curl'd on silver Props, in order glow: A darker Metal mixt, intrench'd the Place;Line 655 And Pales of glitt'ring Tin th'Enclosure grace. To this, one Pathway gently winding leads, Where march a Train with Baskets on their Heads, (Fair Maids, and blooming Youths) that smiling bear The purple Product of th'Autumnal Year.Line 660 To these a Youth awakes the warbling Strings, Whose tender Lay the Fate of Linus sings; In measur'd Dance behind him move the Train, Tune soft the Voice, and answer to the Strain.

Here, Herds of Oxen march, erect and bold,Line 665 Rear high their Horns, and seem to lowe in Gold, And speed to Meadows on whose sounding Shores A rapid Torrent thro' the Rushes roars: Four golden Herdsmen as their Guardians stand, And nine sour Dogs compleat the rustic Band.Line 670 Two Lions rushing from the Wood appear'd; And seiz'd a Bull, the Master of the Herd:

He roar'd: in vain the Dogs, the Men withstood, They tore his Flesh, and drank the sable Blood. The Dogs (oft' chear'd in vain) desert the Prey,Line 675 Dread the grim Terrors, and at distance bay.

Next this, the Eye the Art of Vulcan leads Deep thro' fair Forests, and a Length of Meads; And Stalls, and Folds, and scatter'd Cotts between; And fleecy Flocks, that whiten all the Scene.Line 680

A figur'd Dance succeeds: Such once was seen In lofty Gnossus, for the Cretan Queen, Form'd by Daedalean Art. A comely Band Of Youths and Maidens, bounding Hand in Hand; The Maids in soft Cymarrs of Linen drest;Line 685 The Youths all graceful in the glossy Vest; Of those the Locks with flow'ry Wreaths inroll'd, Of these the Sides adorn'd with Swords of Gold, That glitt'ring gay, from silver Belts depend. Now all at once they rise, at once descend,Line 690 With well-taught Feet: Now shape, in oblique ways, Confus'dly regular, the moving Maze: Now forth at once, too swift for sight, they spring, And undistinguish'd blend the flying Ring: Line 695

So whirls a Wheel, in giddy Circle tost,Line 695 And rapid as it runs, the single Spokes are lost. The gazing Multitudes admire around; Two active Tumblers in the Center bound; Now high, now low, their plaint Limbs they bend, And gen'ral Songs the sprightly Revel end.Line 700

Thus the broad Shield complete the Artist crown'd With his last Hand, and pour'd the Ocean round: In living Silver seem'd the Waves to roll, And beat the Buckler's Verge, and bound the whole.

This done, whate'er a Warrior's Use requiresLine 705 He forg'd; the Cuirass that outshone the Fires; The Greaves of ductile Tin, the Helm imprest With various Sculpture, and the golden Crest. At Thetis' Feet the finish'd Labour lay; She, as a Falcon cuts th'Aerial way,Line 710 Swift from Olympus' snowy Summit flies, And bears the blazing Present through the Skies.

OBSERVATIONS ON THE Eighteenth Book.

[figure] shield of Achilles

The Shield of Achilles as describ'd in Homers 18^th. Ilias. in Twelve Tables.

• ...

  Three of a Town in Peace. 1. a Marriage. 2. an assembly of y^e People. 3. a Senate.

  Three of a Town in War. 4. The Besieg'd making a Sally. 5. Shepherds & their Flocks falling into an ambuscade. 6. a Combact.

  Three of Agriculture. 7. Tillage. 8. Harvest. 9. a Vintage.

  Three of a Pastoral Life. 10. Lions & Herds of Cattle. 11. Sheep. 12. the Dance.

Sam^l. Gribelin Jun^r. Sculp.

OBSERVATIONS ON THE EIGHTEENTH BOOK.

I.

VERSE 1. Thus like the Rage of Fire, &c.]

This Phrase is usual in our Author, to signify a sharp Battel fought with Heat and Fury on both parts; such an Engagement like a Flame, preying upon all sides, and dying the sooner, the fiercer it burns. Eu|stathius.

II.

VERSE 6. On hoisted Yards.]

The Epithet 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 in this Place has a more than ordinary Sgnification. It implies that the Sail-yards were hoisted up, and Achilles's Ships on the point to set sail. This shews that it was purely in Compliance to his Friend that he permitted him to succour the Greeks; he meant to leave 'em as soon as Patroclus return'd; he still remember'd what he told the Embassadors in the ninth Book; ℣. 360. To morrow you shall see my Fleet set sail. Accordingly this is the Day appointed, and he is fix'd to his Resolution: This Circumstance wonder|fully strengthens his implacable Character.

III.

VERSE 7. Pensive he sate.]

Homer in this artful man|ner prepares Achilles for the fatal Message, and gives him these Forebodings of his Misfortunes, that they might be no less than he expected.

His Expressions are suitable to his Concern, and deliver'd confusedly.

"I bad him (says he) after he had sav'd the Ships, and repuls'd the Trojans, to return back, and not en|gage himself too far."

Here he breaks off, when he should have added;

"But he was so unfortunate as to forget my Advice."

As he is reasoning with himself, Antilochus comes in, which makes him leave the Sense imperfect. Eustathius.

IV.

VERSE 15. Fulfill'd is that Decree? Slain is the Warrior? and Patroclus he!

It may be objected, that Achilles seems to contradict what had been said in the foregoing Book, that Thetis conceal'd from her Son the Death of Patroclus in her Prediction. Whereas here he says, that she had foretold he should lose the bravest of the Thessalians. There is nothing in this but what is natural and common among Mankind: And it is still more agreeable to the hasty and inconsiderate Temper of Achilles, not to have made that Reflection till it was too late. Prophecies are only Marks of divine Pre|science, not Warnings to prevent human Misfortunes; for if they were, they must hinder their own Accomplishment.

V.

VERSE 21. Sad Tydings, Son of Peleus!]

This Speech of Antilochus ought to serve as a Model for the Brevity with which so dreadful a piece of News ought to be deliver'd; for in two Verses it comprehends

the whole Affair, the Death of Patroclus, the Person that kill'd him, the Contest for his Body, and his Arms in the Possession of the Enemy. Besides, it shou'd be observ'd that Grief has so crowded his Words, that in these two Verses he leaves the Verb 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, they fight, without its No|minative, the Greeks or Trojans. Homer observes this Bre|vity upon all the like Occasions. The Greek Tragic Poets have not always imitated this Discretion. In great Distresses there is nothing more ridiculous than a Messenger who be|gins a long Story with pathetic Descriptions; he speaks with|out being heard; for the Person to whom he addresses him|self has no time to attend him: The first Word, which dis|covers to him his Misfortune, has made him deaf to all the rest. Eustathius.

VI.

VERSE 25. A sudden Horrour, &c.]

A modern French Writer has drawn a Parallel of the Conduct of Homer and Virgil, in relation to the Deaths of Patroclus and of Pallas. The latter is kill'd by Turnus, as the former by Hector; Turnus triumphs in the Spoils of the one, as Hector is clad in the Arms of the other; Aeneas revenges the Death of Pallas by that of Turnus, as Achilles the Death of Patro|clus by that of Hector. The Grief of Achilles in Homer on the score of Patroclus, is much greater than that of Aeneas in Virgil, for the sake of Pallas. Achilles gives himself up to Despair with a Weakness which Plato could not pardon in him, and which can only be excus'd on ac|count of the long and close Friendship between 'em: That of Aeneas is more discreet, and seems more worthy of a Hero. It was not possible that Aeneas could be so deeply interested for any Man, as Achilles was interested for Pa|troclus: For Virgil had no Colour to kill Ascanius, who was little more than a Child; besides, that his Hero's In|terest in the War of Italy was great enough of itself, not to need to be animated by so touching a Concern as the fear of losing his Son. On the other hand, Achil|les having but very little personal Concern in the War of

Troy (as he had told Agamemnon in the beginning of the Poem) and knowing, besides, that he was to perish there, required some very pressing Motive to engage him to per|sist in it, after such Disgusts and Insults as he had received. It was this which made it necessary for these two great Poets to treat a Subject so much in their own Nature alike, in a manner so different. But as Virgil found it admirable in Homer, he was willing to approach it, as near as the Oeco|nomy of his Work would permit.

VII.

VERSE 27. Cast on the Ground, &c.]

This is a fine Pi|cture of the Grief of Achilles: We see on the one hand, the Posture in which the Hero receives the News of his Friend's Death; he falls upon the Ground, he rends his Hair, he snatches the Ashes and casts them on his Head, according to the manner of those Times; (but what much enlivens it in this place, is his sprinkling Embers instead of Ashes in the Violence of his Passion.) On the other side, the Cap|tives are running from their Tents, ranging themselves about him, and answering to his Groans: Beside him stands An|tilochus, fetching deep Sighs, and hanging on the Arms of the Hero, for fear his Despair and Rage should cause some desperate Attempt upon his own Life: There is no Paint|er but will be touch'd with this Image.

VIII.

VERSE 33. The Virgin Captives.]

The captive Maids la|mented either in Pity for their Lord, or in Gratitude to the Memory of Patroclus, who was remarkable for his Good|ness and Affability; or under these Pretences mourn'd for their own Misfortunes and Slavery. Eustathius.

IX.

VERSE 75. Like some fair Plant, beneath my careful Hand.]

This Passage, where the Mother compares her Son to a ten|der Plant, rais'd and preserv'd with Care; has a most remar|kable Resemblance to that in the Psalms, Thy Children like Branches of Olive Trees round thy Table. Psal. 127.

X.

VERSE 100, 125. The two Speeches of Achilles to Thetis.]

It is not possible to imagine more lively and beautiful Strokes of Nature and Passion, than those which our Author ascribes to Achilles throughout these admirable Speeches. They contain all, that the truest Friend, the most tender Son, and the most generous Hero, could think or express in this delicate and affecting Circumstance. He shews his Ex|cess of Love to his Mother, by wishing he had never been born or known to the World, rather than she should have endur'd so many Sufferings on his account: He shews no less Love for his Friend, in resolving to revenge his Death upon Hector, tho' his own would immediately follow. We see him here ready to meet his Fate for the sake of his Friend, and in the Odysseis we find him wishing to live again only to maintain his Father's Honour against his Enemies: Thus he values neither Life nor Death, but as they conduce to the Good of his Friend and Parents, or the Encrease of his Glory.

After having calmly consider'd the present State of his Life, he deliberately embraces his approaching Fate; and comforts himself under it, by a Reflection on those great Men, whom neither their illustrious Actions, nor their Af|finity to Heaven, could save from the general Doom. A Thought very natural to him, whose Business it was in Peace to sing their Praises, and in War to imitate their Acti|ons. Achilles, like a Man passionate of Glory, takes none but the finest Models; he thinks of Hercules, who was the

Son of Jupiter, and who had fill'd the Universe with the Noise of his immortal Actions: These are the Sentiments of a real Hero. Eustathius.

XI.

VERSE 137. Let me—But oh ye gracious Powers &c.]

Achilles's Words are these;

"Now since I am never to re|turn home, and since I lie here an useless Person, losing my best Friend, and exposing the Greeks to so many Dan|gers by my own Folly; I who am superior to them all in Battel

—Here he breaks off, and says—May Contention pe|rish everlastingly, &c. Achilles leaves the Sentence thus sus|pended, either because in his Heat he had forgot what he was speaking of, or because he did not know how to end it; for he should have said,—

"Since I have done all this, I'll perish to revenge him:"

Nothing can be finer than this sud|den Execration against Discord and Revenge, which breaks from the Hero in the deep Sense of the Miseries those Passi|ons had occasion'd him.

Achilles could not be ignorant that he was superior to others in Battel; and it was therefore no Fault in him to say so. But he is so ingenuous as to give himself no far|ther Commendation than what he undoubtedly merited; con|fessing at the same time, that many exceeded him in Speak|ing: Unless one may take this as said in contempt of Ora|tory, not unlike that of Virgil,

Orabunt caussas meliùs—&c.

XII.

VERSE 153. Let me this instant.]

I shall have time enough for inglorious Rest when I am in the Grave, but now I must act like a living Hero: I shall indeed lie down in Death, but at the same time rise higher in Glory. Eustathius.

XIII.

VERSE 162. That all shall know, Achilles.]

There is a great Stress on 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. They shall soon find that their Victories have been owing to the long Absence of a Hero, and that Hero Achilles. Upon which the Ancients have observ'd, that since Achilles's Anger there past in reality but a few Days: To which it may be reply'd, that so short a Time as this might well seem long to Achilles, who thought all unactive Hours tedious and insupportable; and if the Poet himself had said that Achilles was long absent, he had not said it because a great many Days had past, but because so great a Variety of Incidents had happen'd in that Time. Eustathius.

XIV.

VERSE 217.—This Promise of Thetis to present her Son with a new Suit of Armour, was the most artful Method of hindering him from putting immediately in practice his Re|solutions of fighting, which according to his violent Man|ners, he must have done: Therefore the Interposition of Thetis here was absolutely necessary; it was Dignus vindice nodus.

XV.

VERSE 219. Who sends thee Goddess, &c.]

Achilles is ama|zed, that a Moment after the Goddess his Mother had for|bid him fighting, he shou'd receive a contrary Order from the Gods: Therefore he asks what God sent her? Dacier.

XVI.

VERSE 226. Arms I have none.]

It is here objected against Homer, that since Patroclus took Achilles' Armour, Achilles could not want Arms while he had those of Patroclus; but

(besides that Patroclus might have given his Armour to his Squire Automedon, the better to deceive the Trojans by making them take Automedon for Patroclus, as they took Patroclus for A|chilles) this Objection may be very solidly answer'd by say|ing that Homer has prevented it, since he made Achilles's Armour fit Patroclus's Body not without a Miracle, which the Gods wrought in his Favour. Furthermore, it does not follow that because the Armour of a large Man fits one that is smaller, the Armour of a little Man shou'd fit one that is larger. Eustathius.

XVII.

VERSE 230. Except the mighty Telamonian Shield.]

A|chilles seems not to have been of so large a Stature as Ajax: Yet his Shield 'tis likely might be fit enough for him, because his great Strength was sufficient to wield it. This Passage, I think, might have been made use of by the Defenders of the Shield of Achilles against the Criticks, to shew that Homer intended the Buckler of his Hero for a very large one: And one would think he put it into this place, just a little before the Description of that Shield, on purpose to obviate that Objection.

XVIII.

VERSE 236. But as thou art, unarm'd]

A Hero so violent and so outragious as Achilles, and who had just lost the Man he lov'd best in the World, is not likely to refuse shewing himself to the Enemy, for the single Rea|son of having no Armour. Grief and Despair in a great Soul are not so prudent and reserv'd; but then on the other side, he is not to throw himself in the midst of so many Enemies arm'd and flush'd with Victory. Homer gets out of this nice Circumstance with great Dexterity, and gives to Achilles's Character every thing he ought to give it, with|out offending either against Reason or Probability. He judici|ously feigns, that Juno sent this Order to Achilles, for Juno is

the Goddess of Royalty, who has the Care of Princes and Kings; and who inspires them with the Sense of what they owe to their Dignity and Character. Dacier.

XIX.

VERSE 237. Let but Achilles o'er yon' Trench appear.]

There cannot be a greater Instance, how constantly Homer carry'd his whole Design in his Head, as well as with what admirable Art he raises one great Idea upon another, to the highest Sublime, than this Passage of Achilles's Appearance to the Army, and the Preparations by which we are led to it. In the thirteenth Book, when the Trojans have the Vi|ctory, they check their Pursuit of it, in the mere Thought that Achilles sees them: In the sixteenth, they are put into the utmost Consternation at the sight of his Armour and Chariot: In the seventeenth, Menelaus and Ajax are in De|spair, on the Consideration that Achilles cannot succour them for want of Armour: In the present Book, beyond all Ex|pectation he does but shew him unarm'd, and the very Sight of him gives the Victory to Greece: How extremely noble is this Gradation!

XX.

VERSE 245. The Smokes high-curling.]

For Fires in the Day appear nothing but Smoak, and in the Night Flames are visible because of the Darkness. And thus it is said in Exodus, That God led his People in the Day with a Pil|lar of Smoak, and in the Night with a Pillar of Fire. Per Diem in Columna nubis, & per Noctem in Columna ignis. Dacier.

XXI.

VERSE 247. Seen from some Island.]

Homer makes choice of a Town placed in an Island, because such a Place being besieg'd has no other Means of making its Distress

known than by Signals of Fire; whereas a Town upon the Continent has other Means to make known to its Neigh|bours the Necessity it is in. Dacier.

XXII.

VERSE 259. As the loud Trumpets, &c.]

I have already observ'd, that when the Poet speaks as from himself, he may be allow'd to take his Comparisons from things which were not known before his Time. Here he borrows a Com|parison from the Trumpet, as he has elsewhere done from Saddle-Horses, tho' neither one nor the other were us'd in Greece at the time of the Trojan War. Virgil was less exact in this respect, for he describes the Trumpet as used in the sacking of Troy,

Exoritur clamorque virûm clangorque tubarum.

And celebrates Misenus as the Trumpeter of Aeneas. But as Virgil wrote at a time more remote from those heroic Ages, perhaps this Liberty may be excused. But a Poet had better confine himself to Customs and Manners, like a Painter; and it is equally a Fault in either of them to ascribe to Times and Nations any thing with which they were unacquainted.

One may add an Oservation to this Note of M. Dacier, that the Trumpet's not being in use at that time, makes very much for Homer's Purpose in this Place. The Terror rais'd by the Voice of his Hero, is much the more strong|ly imag'd by a Sound that was unusual, and capable of striking more from its very Novelty.

XXIII.

VERSE 315. If but the Morrow's Sun, &c.]

Polydamas says in the Original,

"If Achilles comes to morrow in his Armour.

There seems to lye an Objection against this Pas|sage,

for Polydamas knew that Achilles's Armour was won by Hector, he must also know that no other Man's Armour would fit him; how then could he know that new Arms were made for him that very Night? Those who are re|solv'd to defend Homer, may answer, it was by his Skill in Prophecy; but to me, this seems to be a Slip of our Au|thor's Memory, and one of those little Nods which Horace speaks of.

XXIV.

VERSE 333. The Speech of Hector.]

Hector in this severe Answer to Polydamas, takes up several of his Words and turns them another way.

Polydamas had said 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉,

"To Morrow by break of Day let us put on our Arms, and defend the Castles and City-Walls,"

to which Hector replies, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉,

"To Morrow by break of Day let us put on our Arms, not to defend our selves at home, but to fight the Greeks before their own Ships.

Polydamas, speaking of Achilles, had said 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.

"if he comes after we are within the Walls of our City, 'twill be the worse for him, for he may drive round the City long enough before he can hurt us."

To which, Hector answers;

"If Achilles should come 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c. 'Twill be "the worse for him, as you say, because I'll fight him: 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, says Hector, in reply to Polydamas's Saying, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.

But Hector is not so far gone in Passion or Pride, as to forget himself; and accordingly in the next Lines he modestly puts it in doubt, which of them shall conquer. Eustathius.

XXV.

VERSE 340. Sunk were her Treasures, and her Stores decay'd.]

As well by reason of the Convoys, which were necessarily to be sent for with ready Money; as by reason of the great

Allowances which were to be given to the auxiliary Troops, who came from Phrygia and Maeonia. Hector's Meaning is, that since all the Riches of Troy are exhausted, it is no longer necessary to spare themselves, or shut themselves up within their Walls. Dacier.

XXVI.

VERSE 349. If there be one, &c,]

This noble and ge|nerous Proposal is worthy of Hector, and at the same time very artful to ingratiate himself with the Soldiers. Eustathius farther observes that it is said with an Eye to Polydamas, as accusing him of being rich, and of not opening the Ad|vice he had given, for any other End than to preserve his great Wealth; for Riches commonly make Men Cowards, and the Desire of saving them has often occasion'd Men to give Advice very contrary to the publick Welfare.

XXVII.

VERSE 379. In what vain Promise.]

The Lamentation of Achilles over the Body of Patroclus is exquisitely touch'd: It is Sorrow in the extreme, but the Sorrow of Achilles. It is nobly usher'd in by that Simile of the Grief of the Lion: An Idea which is fully answer'd in the savage and bloody Conclusion of this Speech. One would think by the Beginning of it, that Achilles did not know his Fate, till after his Departure from Opuntium; and yet how does that agree with what is said of his Choice of the short and active Life, rather than the long and inglorious one? Or did not he flatter himself sometimes, that his Fate might be changed? This may be conjectur'd from several other Pas|sages, and is indeed the most natural Solution.

XXVIII.

VERSE 404. Cleanse the pale Corse, &c.]

This Custom of washing the Dead, is continu'd amongst the Greeks to this Day; and 'tis a pious Duty perform'd by the dearest Friend

or Relation, to see it wash'd and anointed with a Perfume, af|ter which they cover it with Linen exactly in the manner here related.

XXIX.

VERSE 417. Jupiter and Juno.]

Virgil has coppy'd the Speech of Juno to Jupiter. Ast ego quae divûm incedo Regina, &c. But it is exceeding remarkable, that Homer should upon eve|ry Occasion make Marriage and Discord inseperable: 'Tis an unalterable Rule with him, to introduce the Husband and Wife in a Quarrel.

XXX.

VERSE 440. Full twenty Tripods.]

Tripods were Vessels supported on three Feet, with Handles on the Sides; they were of several Kinds, and for several Uses; some were consecrated to Sacrifices, some used as Tables, some as Seats, others hung up as Ornaments on Walls of Houses or Tem|ples; these of Vulcan have an Addition of Wheels, which was not usual, which intimates them to be made with Clock|work. Mons. Dacier has commented very well on this Pas|sage. If Vulcan (says he) had made ordinary Tripods, they had not answer'd the Greatness, Power, and Skill of a God. It was therefore necessary that his Work should be above that of Men: To effect this, the Tripods were animated, and in this Homer doth not deviate from the Probability; for every one is fully persuaded, that a God can do things more difficult than these, and that all Matter will obey him. What has not been said of the Statues of Daedalus? Plato writes, that they walked alone, and if they had not taken care to tie them, they would have got loose, and run from their Master. If a Writer in Prose can speak hyperbollically of a Man, may not Homer do it much more of a God? Nay, this Circumstance with which Homer has embellish'd his Poem, would have had nothing too surprizing tho' these Tripods had been made by a Man; for what may not be done in Clock-work by an exact Management of Springs?

This Criticism is then ill grounded, and Homer does not deserve the Ridicule they would cast on him.

The same Author applies to this Passage of Homer that Rule of Aristotle, Poetic. Chap. 26. which deserves to be al|ledged at large on this Occasion.

"When a Poet is accus'd of saying any thing that is im|possible; we must examine that Impossibility, either with respect to Poetry, with respect to that which is best, or with respect to common Fame. First, with regard to Poe|try, The Probable Impossible ought to be preferr'd to the Possible, which bath no Verisimilitude, and which would not be believ'd; and 'tis thus that Zeuxis painted his Pieces. Secondly, with respect to that which is best, We see that a thing is most excellent and more wonderful this way, and that the Originals ought always to surpass. Lastly, in respect to Fame, It is prov'd that the Poet need on|ly follow common Opinion. All that appears absurd may be also justify'd by one of these three ways; or else by the Maxim we have already laid down, that it is probable, that a great many things may happen against Proba|bility."

A late Critick has taken notice of the Conformity of this Passage of Homer with that in the first Chapter of Ezekiel, The Spirit of the living Creatures was in the Wheels; when those went, these went, and when those stood, these stood; and when those were listed up, the Wheels were lifted up over against them; for the Spirit of the living Creature was in the Wheels.

XXXI.

VERSE 450. A Footstool at her Feet.]

It is at this Day the usual Honour paid amongst the Greeks, to a Visiter of supe|perior Quality, to set them higher than the rest of the Com|pany, and put a Footstool under their Feet. See Note 25. on Book 14. This, with innumerable other Customs, are still preserv'd in the Eastern Nations.

XXXII.

VERSE 460. Vulcan draw near, 'tis Thetis asks your Aid.]

The Story the Ancients tell, of Plato's Application of this Verse is worth observing. That great Philosopher had in his Youth a strong Inclination to Poetry, and not being satisfy'd to compose little Pieces of Gallantry and Amour, he tried his Forces in Tragedy and Epic Poetry; but the Suc|cess was not answerable to his Hopes: He compared his Per|formance with that of Homer, and was very sensible of the Difference. He therefore abandon'd a sort of Writing where|in at best he could only be the second, and turn'd his Views to an other, wherein he despaired not to become the first. His Anger transported him so far, as to cast all his Verses into the Fire. But while he was burning them, he could not help citing a Verse of the very Poet who had caus'd his Chagrin. It was the present Line, which Homer has put into the Mouth of Charis, when Thetis demands Arms for Achilles.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉

Plato only inserted his own Name instead of that of Thetis.

Vulcan draw near, 'tis Plato asks your Aid.

If we credit the Ancients, it was the Discontentment his own Poetry gave him, that rais'd in him all the Indignation he afterwards express'd against the Art itself. In which (say they) he behaved like those Lovers, who speak ill of the Beauties whom they cannot prevail upon. Fraguier, Parall. de Hom. & de Platon.

XXXIII.

VERSE 461. Thetis (reply'd the God) our Pow'rs may claim, &c.

Vulcan throws by his Work to perform Thetis's Request, who had laid former Obligations upon him; the Poet in this

Example giving us an excellent Precept, that Gratitude should take place of all other Concerns.

The Motives which should engage a God in a new Tra|vel in the Night-time upon a Suit of Armour for a Mor|tal, ought to be strong; and therefore artfully enough put upon the foot of Gratitude: Besides, they afford at the same time a noble Occasion for Homer to retail his Theology, which he is always very fond of.

The Allegory of Vulcan, or Fire (according to Heraclides) is this. His Father is Jupiter, or the Aether, his Mother Juno, or the Air, from whence he fell to us, whether by Lightning, or otherwise. He is said to be lame, that is, to want Support, because he cannot subsist without the continual Subsistance of Fuel. The Aetherial Fire, Homer calls Sol or Jupiter, the inferior Vulcan; the one wants nothing of Perfection, the other is subject to Decay, and is restor'd by Accession of Materials. Vulcan is said to fall from Heaven, because at first, when the Opportunity of obtaining Fire was not so frequent, Men prepared Instruments of Brass, by which they collected the Beams of the Sun; or else they gain'd it from accidental Lightning, that set fire to some combustible Matter. Vulcan had perish'd when he fell from Heaven unless Thetis and Eurynome had received him; that is, unless he had been preserv'd by falling into some convenient Re|ceptacle, or subterranean Place; and so was afterwards distri|buted for the common Necessities of Mankind. To under|stand these strange Explications, it must be known, that Thetis is deriv'd from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 to lay up, and Eurynome from 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 and 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, a wide Distribution. They are call'd Daughters of the Ocean, because the Vapours and Exhalations of the Sea forming themselves into Clouds, find Nourishment for Light|nings.

XXXIV.

VERSE 488. Two semale Forms, That mov'd and breath'd in animated Gold.]

It is very probable, that Homer took the Idea of these from the Statues of Daedalus, which might be extant in his Time.

The Ancients tell us, they were made to imitate Life, in rolling their Eyes, and in all other Motions. From whence indeed it should seem, that the Excellency of Daedalus con|sisted in what we call Clock-work, or the Management of moving Figures by Springs, rather than in Sculpture or Image|ry: And accordingly, the Fable of his fitting Wings to himself and his Son, is form'd entirely upon the Founda|tion of the former.

XXXV.

VERSE 518. Robb'd of the Prize, &c.]

Thetis to compass her Design, recounts every thing to the Advantage of her Son; she therefore suppresses the Episode of the Embassy, the Prayers that had been made use of to move him, and all that the Greeks had suffer'd after the Return of the Am|bassadors; and artfully puts together two very distant things, as if they had follow'd each other in the same Moment. He declin'd, says she, to succour the Greeks, but he sent Patroclus. Now between his refusing to help the Greeks, and his sending Patroclus, terrible things had fallen out; but she suppresses them, for fear of offending Vulcan with the recital of Achilles's inflexible Obduracy, and thereby create in that God an Aversion to her Son. Eustathius.

XXXVI.

VERSE 526. Then slain by Phoebus (Hector had the Name)

It is a Passage worth taking notice of, that Brutus is said to have consulted the Sortes Homericae, and to have drawn one of these Lines, wherein the Death of Patroclus is ascribed to Apollo: After which, unthinkingly, he gave the Name of that God for the Word of Battel. This is remarked as an unfortunate Omen by some of the Ancients, tho' I forget where I met with it.

XXXVII.

VERSE 537. The Father of the Fires, &c.]

The Ancients (says Eustathius) have largely celebrated the philosophical My|steries

which they imagined to be shadowed under these Descri|ptions, especially Damo (suppos'd the Daughter of Pythagoras) whose Explication is as follows. Thetis, who receives the Arms, means the apt Order and Disposition of all things in the Crea|tion. By the Fire and the Wind rais'd by the Bellows, are meant Air and Fire the most active of all the Elements. The Emanations of the Fire are those golden Maids, that wait|ed on Vulcan. The circular Shield is the World, being of a sphaerical Figure. The Gold, the Brass, the Silver, and the Tin are the Elements: Gold is Fire, the firm Brass is Earth, the Silver is Air, and the soft Tin, Water. And thus far (say they) Homer speaks a little obscurely, but afterwards he names 'em expressly, 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, to which, for the fourth Element, you must add Vulcan, who makes the Shield. The extreme Circle that run round the Shield which he calls splendid and threefold, is the Zodiack; three|fold for its Breadth, within which all the Planets move; splendid, because the Sun passes always thro' the midst of it. The silver Handle by which the Shield is fastened at both Extremities, is the Axis of the World, imagin'd to pass thro it, and upon which it turns. The five folds are those pa|rallel Circles that divide the World, the Polar, the Tro|picks, and the Aequator.

Heraclides Ponticus thus pursues the Allegory. Homer (says he) makes the working of his Shield, that is the World, to be begun by Night, as indeed all Matter lay undistinguish'd in an original and universal Night; which is called Chaos by the Poets.

To bring the matter of the Shield to Separation and Form, Vulcan presides over the Work, or as we may say, an essential Warmth: All things, says Heraclitus, being made by the Operation of Fire.

And because the Architect is at this time to give a Form and Ornament to the World he is making, it is not rashly that he is said to be married to one of the Graces.

On the broad Shield the Maker's Hand engraves The Earth and Seas beneath, the Pole above, The Sun unwearied, and the circled Moon.

Thus in the Beginning of the World, he first lays the Earth as the Foundation of a Building, whose Vacancies are fill'd up with the Flowings of the Sea. Then he spreads out the Sky for a kind of divine Roof over it, and lights the Elements, now separated from their former Confusion, with the Sun, the Moon,

And all those Stars that crown the Skies with Fire:

Where, by the Word crown, which gives the Idea of Round|ness, he again hints at the Figure of the World; and tho' he cou'd not particularly name the Stars like Aratus (who pro|fess'd to write upon them) yet he has not omitted to men|tion the principal. From hence he passes to represent two Allegorical Cities, one of Peace, the other of War; Empe|docles seems to have taken from Homer his Assertion, that all Things had their Original from Strife and Friendship.

All these Refinements (not to call 'em absolute Whimsies) I leave just as I found 'em, to the Reader's Judgment or Mercy.

XXXVIII.

VERSE 566. Nor bends his blazing Forehead to the Main.]

The Criticks have made use of this Passage, to prove that Homer was ignorant of Astronomy; since he believ'd, that the Bear was the only Constellation which never bathed itself in the Ocean, that is to say that did not set, and was al|ways visible; for say they, this is common to other Con|stellations of the Artick Circle, as the lesser Bear, the Dra|gon, the greatest part of Cepheus, &c. To salve Homer, Ari|stotle answers, That he calls it the only one, to shew that 'tis the only one of those Constellations he had spoken of, or that he has put the only, for the principal or the most known. Strabo justifies this after another manner, in the Beginning of his first Book,

"Under the Name of the Bear and the Chariot, Homer comprehends all the Artick Circle; for there being several other Stars in that Circle which never set, he could not say, that the Bear was the only

one which did not bath itself in the Ocean; wherefore those are deceived, who accuse the Poet of Ignorance, as if he knew one Bear only when there are two; for the lesser was not found out in his Time. The Phoeni|cians were the first who observ'd it and made use of it in their Navigation; and the Figure of that Sign passed from them to the Greeks: The same thing happen'd in regard to the Constellation of Berenice's Hair, and that of Ca|nopus, which receiv'd those Names very lately; and as Aratus says well, there are several other Stars which have no Names. Crates was then in the wrong to endeavour to correct this Passage, in putting 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 for 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, for he tries to avoid that which there is no occasion to avoid. He|raclitus did better, who put the Bear for the Artick Circle as Homer has done. The Bear (says he) is the Limit of the rising and setting of the Stars."

Now it is the Artic Circle, and not the Bear which is that Limit.

"'Tis therefore evident, that by the Word Bear, which he calls the Wag|gon, and which he says observes Orion, he understands the Artick Circle; that by the Ocean he means the Horizon where the Stars rise and set; and by those Words, which turns in the same place, and doth not bath itself in the Ocean, he shews that the Artick Circle is the most Northern Part of the Horizon, &c.

Dacier on Arist.

Mons. Terasson combates this Passage with great Warmth. But it will be a sufficient Vindication of our Author to say, that some other Constellations, which are likewise perpetually above the Horizon in the Latitude where Homer writ, were not at that time discovered; and that whether Homer knew that the Bear's not setting was occasion'd by the Latitude, and that in a smaller Latitude it would set, is of no con|sequence; for if he had known it, it was still more poeti|cal not to take notice of it.

XXXIX.

VERSE 467. Two Cities, &c.]

In one of these Cities are represented all the Advantages of Peace: And it was im|possible

to have chosen two better Emblems of Peace, than Marriages and Justice. 'Tis said this City was Athens, for Marriages were first instituted there by Cecrops; and Judgment upon Murder was first founded there. The ancient State of Attica seems represented in the neighbouring Fields, where the Ploughers and Reapers are at work, and a King is overlooking them; for Triptolemus who reigned there, was the first who sowed Corn: This was the Imagination of Agallias Cercyreus, as we find him cited by Eustathius.

XL.

VERSE 579. The Fine discharg'd.]

Murder was not al|ways punish'd with Death, or so much as Banishment; but when some Fine was paid, the Criminal was suffer'd to remain in the City. So Iliad 9.

—〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉

—If a Brother bleed, On just Atonement, we remit the Deed; A Sire the Slaughter of his Son forgives, The Price of Blood discharg'd, the Murd'rer lives.

XLI.

VERSE 590. The Prize of him who best adjudg'd the Right.]

Eustathius informs us, that it was anciently the Custom to have a Reward given to that Judge who pronounced the best Sentence. M. Dacier opposes this Authority, and will have it, that this Reward was given to the Person who upon the Decision of the Suit appear'd to have the justest Cause. The Difference between these two Customs, in the Reason of the thing, is very great: For the one must have been an En|couragement to Justice, the other a Provocation to Dissen|sion.

It were to be wanting in a due Reverence to the Wis|dom of the Ancients, and of Homer in particular, not to chuse the former Sense: And I have the Honour to be con|firmed in this Opinion, by the ablest Judge, as well as the best Practiser, of Equity, my Lord Harcourt, at whose Seat I translated this Book.

XLII.

VERSE 591. Another Part (a Prospect diff'rent far, &c.]

The same Agallias, cited above, would have this City in War to be meant of Eleusina, but upon very slight Reasons. What is wonderful is, that all the Accidents and Events of War are set before our Eyes in this short Compass. The several Scenes are excellently dispos'd to represent the whole Affair. Here is in the space of thirty Lines a Siege, a Sally, an Am|bush, the Surprize of a Convoy, and a Battel; with scarce a single Circumstance proper to any of these, omitted.

XLIII.

VERSE 627. A Field deep-furrow'd, &c.]

Here begin the Descriptions of rural Life, in which Homer appears as great a Master as in the great and terrible Parts of Poetry. One wou'd think, he did this on purpose to rival his Con|temporary Hesiod, on those very Subjects to which his Ge|nius was particularly bent. Upon this Occasion, I must take notice of that Greek Poem, which is commonly ascri|bed to Hesiod under the Title of 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉. Some of the Ancients mention such a Work as Hesiod's, but that amounts to no Proof that this is the same: Which indeed is not an express Poem upon the Shield of Hercules, but Fragment of the Story of that Hero. What regards the Shield is a manifest Copy from this of Achilles; and con|sequently it is not of Hesiod. For if he was not more Ancient, he was at least Contemporary with Homer: And neither of them could be supposed to borrow so shamelesly from the other, not only the Plan of entire Descriptions, (as

those of the Marriage, the Harvest, the Vineyard, the Ocean round the Margin, &c.) but also whole Verses together: Those of the Parca in the Battel, are repeated Word for Word,

—〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉

And indeed half the Poem is but a sort of Cento compos'd out of Homer's Verses. The Reader needs only cast an Eye on these two Descriptions, to see the vast Difference of the Original and the Copy; and I dare say he will rea|dily agree with the Sentiment of Monsieur Dacier, in ap|plying to them that famous Verse of Sannazarius,

Illum hominem dices, hunc posuisse Deum.

XLIV.

VERSE id.] I ought not to forget the many apparent Allusions to the Descriptions on this Shield, which are to be found in those Pictures of Peace and War, the City and Countrey, in the eleventh Book of Milton: Who was doubt|less fond of any Occasion to shew, how much he was charm'd with the Beauty of all these lively Images. He makes his Angel paint those Objects which he shews to Adam, in the Colours, and almost the very Strokes of Homer. Such is that Passage of the Harvest-field,

His Eye he open'd, and beheld a Field Part Arable and Tilth, whereon were Sheaves New-reap'd; the other Part Sheep-walks and Folds. In midst an Altar, as the Landmark, stood, Rustic, of grassy sord, &c.

That of the Marriages,

They light the nuptial Torch, and bid invoke Hymen (then first to marriage Rites invok'd) With Feast and Musick all the Tents resound.

But more particularly, the following Lines are in a manner a Translation of our Author.

One way, a Band select from Forage drives A Herd of Beeves, fair Oxen, and fair Kine From a fat Meadow-ground; or fleecy Flock, Ewes and their bleating Lambs, across the Plain, Their Booty: Scarce with Life the Shepherds fly, But call in Aid, which makes a bloody Fray, With cruel Tournament the Squadrons join Where Cattel pastur'd late, now scatter'd lies With Carcasses and Arms th'ensanguin'd Field Deserted.—Others to a City strong Lay siege, encamp'd; by Battery, Scale, and Mine Assaulting; others from the Wall defend With Dart and Jav'lin, Stones, and sulph'rous Fire: On each hand Slaughter and gigantic Deeds.

In other part, the scepter'd Heralds call To Council in the City Gates: anon Grey-headed Men and grave, with Warriors mixt, Assemble, and Harangues are heard—

XLV.

VERSE 645. The rustic Monarch of the Field.]

Dacier takes this to be a piece of Ground given to a Hero in reward of his Services. It was in no respect unworthy such a Person, in those Days, to see his Harvest got in, and to overlook his Reapers: It is very conformable to the Manners of the ancient Patriarchs, such as they are de|scrib'd to us in the Holy Scriptures.

XLVI.

VERLE 662. The Fate of Linus.]

There are two Interpre|tations of this Verse in the Original: That which I have chosen is confirm'd by the Testimony of Herodotus lib. 2. and

Pausanias, Boeoticis. Linus was the most ancient Name in Poetry, the first upon Record who invented Verse and Mea|sure among the Grecians: He past for the Son of Apollo or Mercury, and was Praeceptor to Hercules, Thamyris, and Or|pheus. There was a solemn Custom among the Greeks of bewailing annually the Death of their first Poet: Pau|sanias informs us, that before the yearly Sacrifice to the Muses on Mount Helicon, the Obsequies of Linus were per|form'd, who had a Statue and Altar erected to him, in that Place. Homer alludes to that Custom in this Passage, and was doubtless fond of paying this Respect to the old Father of Poetry. Virgil has done the same in that Fine Celebra|tion of him, Eclog. 6.

Tum canit errantem Permessi ad flumina Gallum, Utque viro Phoebi chorus assurrexerit omnis; Ut Linus haec illi, divino carmine, pastor (Floribus atque apio crines ornatus amaro) Dixerit—&c.

And again in the fourth Eclog.

Non me carminibus vincet nec Thracius Orpheus, Nec Linus; huic Mater, quamvis at{que} huic Pater adsit, Orpheo Calliopea, Lino formosus Apollo.

XLVII.

VERSE 681. A figur'd Dance.]

There were two sorts of Dances, the Pyrrhick, and the common Dance: Homer has joyn'd both in this Description. We see the Pyrrhick, or Military, is perform'd by the Youths who have Swords on, the other by the Virgins crown'd with Garlands.

Here the ancient Scholiasts say, that whereas before it was the Custom for Men and Women to dance separately, the contrary Practice was afterwards brought in, by seven Youths, and as many Virgins, who were sav'd by Theseus from the Labyrinth; and that this Dance was taught them by Daedalus:

To which Homer here alludes. See Dion. Halic. Hist. l. 7. c. 68.

It is worth observing that the Grecian Dance is still perform'd in this manner in the Oriental Nations: The Youths and Maids dance in a Ring, beginning slowly; by Degrees the Mu|sick plays a quicker time, till at last they dance with the ut|most Swiftness: And towards the Conclusion, they sing (as it is said here) in a general Chorus.

OBSERVATIONS ON THE SHIELD of ACHILLES.

THE Poet intending to shew in its full Lustre, his Ge|nius for Description, makes choice of this Interval from Action and the Leisure of the Night, to display that Talent at large in the famous Buckler of Achilles. His Intention was no less, than to draw the Picture of the whole World in the Compass of this Shield. We first see the Uni|verse in general; the Heavens are spread, the Stars are hung up, the Earth is stretched forth, the Seas are pour'd round: We next see the World in a nearer and more particular view; the Cities, delightful in Peace, or formidable in War; the La|bours of the Countrey, and the Fruit of those Labours, in the Harvests and the Vintages; the Pastoral Life in its Pleasures and its Dangers: In a word, all the Occupations, all the Am|bitions, and all the Diversions of Mankind. This noble and comprehensive Design he has executed in a manner that chal|leng'd the Admiration of all the Ancients: And how right an Idea they had of this grand Design, may be judg'd from that Verse of Ovid, Met. 13. where he calls it

—Clypeus vasti coelatus imagine mundi.

It is indeed astonishing how after this the Arrogance of some Moderns could unfortunately chuse the noblest Part of the noblest Poet for the Object of their blind Criticisms.

I design to give the Reader the Sum of what has been said on this Subject. First, a Reply to the loose and scatter'd Objections of the Criticks, by M. Dacier: Then the regu|lar Plan and Distribution of the Shield, by Mons. Boivin: And lastly, I shall attempt what has not yet been done, to consider it as a Work of Painting, and prove it in all re|spects conformable to the most just Ideas and establish'd Rules of that Art.

I.

It is the Fate (says M. Dacier) of these Arms of Achilles, to be still the Occasion of Quarrels and Disputes. Julius Scaliger was the first who appear'd against this Part, and was follow'd by a whole Herd. These object in the first place, that 'tis impossible to represent the Movement of the Figures; and in condemning the manner, they take the Li|berty to condemn also the Subject, which they say is trivial, and not well understood. 'Tis certain that Homer speaks of the Figures on this Buckler, as if they were alive: And some of the Ancients taking his Expressions to the Strictness of the Letter, did really believe that they had all sorts of Motion. Eustathius shewed the Absurdity of that Sentiment by a Passage of Homer himself,

"That Poet, says he, to shew that his Figures are not animated, as some have pre|tended by an excessive Affection for the Prodigious, took care to say that they moved and fought, as if they were li|ving Men."

The Ancients certainly founded this ridi|culous Opinion on a Rule of Aristotle: For they thought the Poet could not make his Description more admirable and marvellous, than in making his Figures animated, since (as Aristotle says) the Original should always excel the Copy. That Shield is the Work of a God: 'Tis the Original, of which the Engraving and Painting of Men is but an imper|fect Copy; and there is nothing impossible to the Gods. But they did not perceive, that by this Homer would have

fallen into an extravagant Admirable which would not have been probable. Therefore, 'tis without any Necessity Eu|stathius adds,

"That 'tis possible all those Figures did not stick close to the Shield, but that they were detach'd from it, and mov'd by Springs, in such a manner that they appear'd to have Motion; as Aeschylus has feign'd something like it, in his seven Captains against Thebes."

But without having recourse to that C0onjecture, we can shew that there is nothing more simple and natural than the De|scription of that Shield, and there is not one Word which Homer might not have said of it, if it had been the Work of a Man; for there is a great deal of difference between the Work itself, and the Description of it.

Let us examine the Particulars for which they blame Homer. They say he describes two Towns on his Shield which speak different Languages. 'Tis the Latin Translati|on, and not Homer, that says so; the Word 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, is a common Epithet of Men, and which signifies only, that they have an articulate Voice. These Towns could not speak different Languages, since, as the Ancients have re|marked, they were Athens and Eleusina, both which spake the same Language. But tho' that Epithet should signify, which spake different Languages, there would be nothing very surprizing; for Virgil said what Homer it seems must not:

Victae longo ordine gentes, Quam variae linguis.— Aen. 8.

If a Painter should put into a Picture one Town of France and another of Flanders, might not one say they were two Towns which spake different Languages?

Homer (they tell us) says in another place; that we hear the Harangues of two Pleaders. This is an unfair Exaggera|tion: He only says, Two Men pleaded, that is, were represent|ed pleading. Was not the same said by Pliny of Nicomachus, that he had painted two Greeks, which spake one after another? Can we express ourselves otherwise of these two Arts, which tho' they are mute, yet have a Language?

Or in explaining a Painting of Raphael or Poussin, can we prevent animating the Figures, in making them speak con|formably to the Design of the Painter? But how could the Engraver represent those young Shepherds and Virgins that dance first in a Ring, and then in Setts? Or those Troops which were in Ambuscade? This would be difficult indeed if the Workman had not the Liberty to make his Persons appear in different Circumstances. All the Ob|jections against the young Man who sings at the same time that he plays on the Harp, the Bull that roars whilst he is devoured by a Lion, and against the musical Consorts, are childish; for we can never speak of Painting if we banish those Expressions. Pliny says of Apelles, that he paint|ed Clytus on Horseback going to Battel, and demanding his Helmet of his Squire: Of Aristides, that he drew a Beg|gar whom we could almost understand, pene cum voce: Of Ctesilochus, that he had painted Jupiter bringing forth Bac|chus, and crying out like a Woman, & muliebriter ingemis|centem: And of Nicearchus, that he had drawn a Piece, in which Hercules was seen very melancholy for having been a Fool, Herculem tristem, Insaniae poenitentiâ. No one sure will condemn those ways of Expression which are so common. The same Author has said much more of Apelles, he tells us, he painted those things which could not be painted, as Thunder; Pinxit quae pingi non possunt: And of Ti|manthus, that in all his Works there was something more understood than was seen; and tho' there was all the Art imaginable, yet there was still more Ingenuity than Art: Atque in omnibus ejus operibus, intelligitur plus semper quàm pingitur; & cùm Ars summa sit, Ingenium tamen ultra Ar|tem est. If we take the pains to compare these Expressions with those of Homer, we shall find him altogether excusa|ble in his Manner of describing the Buckler.

We come now to the Matter. If this Shield (says a mo|dern Critick) had been made in a wiser Age, it would have been more correct and less charg'd with Objects. There are two things which cause the Censurers to fall into this false Criticism: The first is, that they think the Shield was no broader than the brims of a Hat, whereas it was large enough

to cover a whole Man. The other is, that they did not know the Design of the Poet, and imagined this De|scription was only the Whimsy of an irregular Wit, who did it by chance, and not following Nature; for they ne|ver so much as enter'd into the Intention of the Poet, nor knew the Shield was design'd as a Representation of the Universe.

'Tis happy that Virgil has made a Buckler for Aeneas, as well as Homer for Achilles. The Latin Poet, who imitated the Greek one, always took care to accommodate those things which Time had chang'd, so as to render them agreeable to the Palate of his Readers; yet he hath not only charg'd his Shield with a great deal more Work, since he paints all the Actions of the Romans from Ascanius to Augustus; but has not avoided any of those manners of Expression which offend the Criticks. We see there the Wolf of Romulus and Remus, who gives them her Dugs one after another, Mulcere alternos, & Corpora fingere Linguâ: The Rape of the Sa|bines and the War which follow'd it, subitoque novum con|surgere Bellum: Metius torn by four Horses, and Tullus who draws his Entrails thro' the Forest: Porsenna com|manding the Romans to receive Tarquin, and besieging Rome: The Geese flying to the Porches of the Capitol, and giving notice by their Cries of the Attack of the Gauls.

At{que} hic auratis volitans argenteus Anser, Porticibus, Gallos in Limine adesse canebat.

We see the Salian Dance, Hell, and the Pains of the Damn'd; and farther off, the Place of the Blessed, where Cato pre|sides: We see the famous Battel of Actium, where we may distinguish the Captains: Agrippa with the Gods, and the Winds favourable; and Anthony leading on all the Forces of the East, Egypt, and the Bactrians: The Fight begins, The Sea is red with Blood, Cleopatra gives the Signal for a Retreat, and calls her Troops with a Systrum. Patrio vocat agmina Systro. The Gods, or rather the Monsters of Egypt, fight against Neptune, Venus, Minerva, Mars and Apollo: We see Anthony's Fleet beaten, and the Nile sorrowfully open|ing

his Bosom to receive the Conquer'd: Cleopatra looks pale and almost dead at the Thought of that Death she had already determined; nay we see the very Wind Iapis, which hastens her Flight: We see the three Triumphs of Augustus; that Prince consecrates three hundred Temples, the Altars are fill'd with Ladies offering up Sacrifices, Au|gustus sitting at the Entrance of Apollo's Temple, receives Presents, and hangs them on the Pillars of the Temple; while all the conquer'd Nations pass by, who speak different Languages, and are differently equipp'd and arm'd.

—Incedunt victae longo ordine Gentes, Quam variae Linguis, habitu tum vestis & armis.

Nothing can better justify Homer, or shew the Wisdom and Judgment of Virgil: He was charm'd with Achilles's Shield, and therefore would give the same Ornament to his Poem. But as Homer had painted the Universe, he was sensible that nothing remain'd for him to do; he had no other way to take than that of Prophecy, and shew what the Descendant of his Hero should perform; and he was not afraid to go beyond Homer, because there is nothing improbable in the Hands of a God. If the Criticks say, that this is ju|stifying one Fault by another; I desire they would agree among themselves; for Scaliger, who was the first that con|demn'd Homer's Shield, admires Virgil's; but suppose they should agree, 'twould be foolish to endeavour to persuade us, that what Homer and Virgil have done by the Appro|bation of all Ages, is not good; and to make us think that their particular Taste should prevail over that of all other Men. Nothing is more ridiculous than to trouble one's self to an|swer Men, who shew so little Reason in their Criticisms, that we can do them no greater Favour, than to ascribe it to their Ignorance.

Thus far the Objections are answer'd by Mons. Dacier. Since when, some others have been started, as that the Objects represented on the Buckler have no reference to the Poem, no Agreement with Thetis who procur'd it, Vul|oan who made it, or Achilles for whom it was made.

To this it is reply'd, that the Representation of the Sea was agreeable enough to Thetis; that the Spheres and celestial Fires were so to Vulcan; (tho' the truth is, any piece of Workmanship was equally fit to come from the Hands of this God) and that the Images of a Town besieg'd, a Bat|tel, and an Ambuscade, were Objects sufficiently proper for Achilles. But after all, where was the Necessity that they should be so? They had at least been as fit for one Hero as for another; and Aeneas, as Virgil tells us, knew not what to make of the Figures on his Shield.

Rerumque Ignarus, imagine gaudet.

II.

But still the main Objection, and that in which the Va|nity of the Moderns has triumph'd the most, is, that the Shield is crowded with such a Multiplicity of Figures, as could not possibly be represented in the Compass of it. The late Dissertation of Mons. Boivin has put an end to this Cavil, and the Reader will have the Pleasure to be con|vinced of it by ocular Demonstration, in the Print annexed.

This Author supposes the Buckler to have been perfectly round: He divides the convex Surface into four concentrick Circles.

The Circle next the Center contains the Globe of the Earth and the Sea, in miniature; He gives this Circle the Dimension of three Inches.

The second Circle is allotted for the Heavens and the Stars: He allows the Space of ten Inches between this, and the former Circle.

The third shall be eight Inches distant from the second. The Space between these two Circles shall be divided into twelve Compartiments, each of which makes a Picture of ten or eleven Inches deep.

The fourth Circle makes the Margin of the Buckler: And the Interval between this and the former, being of three Inches, is sufficient to represent the Waves and Currents of the Ocean.

All these together make but four Foot in the whole in Diameter. The Print of these Circles and Divisions will serve to prove, that the Figures will neither be crowded nor confused, if disposed in the proper Place and Order.

As to the Size and Figure of the Shield, it is evident from the Poets, that in the time of the Trojan War there were Shields of an extraordinary Magnitude. The Buckler of Ajax is often compar'd by Homer to a Tower, and in the sixth Iliad that of Hector is described to cover him from the Shoulders to the Ankles.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 ℣. 117.

In the second Verse of the Description of this Buckler of Achilles, it is said that Vulcan cast round it a radiant Circle.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 ℣. 479.

Which proves the Figure to have been round. But if it be alledg'd that 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉 as well signifies oval as circular, it may be answer'd, that the circular Figure better agrees to the Spheres represented in the Center, and to the Course of the Ocean at the Circumference.

We may very well allow four Foot Diameter to this Buck|ler: As one may suppose a larger Size would have been too unwieldy, so a less would not have been sufficient to cover the Breast and Arm of a Man of a Stature so large as A|chilles.

In allowing four Foot Diameter to the whole each of the twelve Compartiments may be of ten or eleven Inches in Depth, which will be enough to contain, without any Confusion, all the Objects which Homer mentions. In|deed in this Print, each Compartiment being but of one Inch, the principal Figures only are represented; but the Reader may easily imagine the Advantage of nine or ten Inches more. However, if the Criticks are not yet satisfy'd there is room enough, it is but taking in the literal Sense the Words 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, with which Homer begins his

Description, and the Buckler may be suppos'd engraven on both Sides, which Supposition will double the Size of each Piece: The one side may serve for the general Description of Heaven and Earth, and the other for all the Parti|culars.

III.

IT having been now shewn, that the Shield of Homer is blameless as to its Design and Disposition, and that the Subject (so extensive as it is) may be contracted within the due Limits; not being one vast unproportion'd Heap of Figures, but divided into twelve regular Compartiments. What remains, is to consider this Piece as a complete Idea of Painting, and a Sketch for what one may call an univer|sal Picture. This is certainly the Light in which it is chiefly to be admired, and in which alone the Criticks have neglect|ed to place it.

There is reason to believe that Homer did in this, as he has done in other Arts, (even in Mechanicks) that is, comprehend whatever was known of it in his Time; if not (as is highly probable) from thence extend his Ideas yet farther, and give a more enlarged Notion of it. Accordingly it is very ob|servable, that there is scarce a Species or Branch of this Art which is not here to be found, whether History, Battel-Paint|ing, Landskip, Architecture, Fruits, Flowers, Animals, &c.

I think it possible that Painting was arrived to a greater Degree of Perfection, even at that early Period, than is ge|nerally supposed by those who have written upon it. Pliny expresly says, that it was not known in the time of the Tro|jan War. The same Author, and others, represent it in a very imperfect State in Greece, in, or near the Days of Ho|mer. They tell us of one Painter, that he was the first who begun to shadow; and of another, that he fill'd his Outlines only with a single Colour, and that laid on every where alike: But we may have a higher Notion of the Art, from those Descriptions of Statues, Carvings, Tapestrys, Sculptures up|on Armour, and Ornaments of all kinds, which every where occur in our Author; as well as from what he says of their Beauty, the Relievo, and their Emulation of Life itself. If we consider how much it is his constant Practice to confine himself to the Custom of the Times whereof he writ, it will be hard to doubt but that Painting and Sculpture must have been then in great Practice and Repute.

The Shield is not only describ'd as a Piece of Sculpture but of Painting; the Outlines may be suppos'd engraved, and the rest enamel'd, or inlaid with various-colour'd Metals. The Va|riety of Colours is plainly distinguish'd by Homer, where he speaks of the Blackness of the new-open'd Earth, of the se|veral Colours of the Grapes and Vines; and in other Places. The different Metals that Vulcan is feign'd to cast into the Furnace, were sufficient to afford all the necessary Colours: But if to those which are natural to the Metals, we add also those which they are capable of receiving from the Operation of Fire, we shall find, that Vulcan had as great a Variety of Colours to make use of as any modern Paint|er. That Enamelling, or fixing Colours by Fire, was pra|ctised very anciently, may be conjectur'd from what Dio|dorus reports of one of the Walls of Babylon, built by Semi|ramis, that the Bricks of it were painted before they were burn'd, so as to represent all sorts of Animals. lib. 2. chap. 4. Now it is but natural to infer, that Men had made use of ordinary Colours for the Representation of Objects, before they learnt to represent them by such as are given by the O|peration of Fire; one being much more easy and obvious than the other, and that sort of Painting by means of Fire being but an Imitation of the Painting with a Pencil and Colours. The same Inference will be farther enforc'd from the Works of Tapestry, which the Women of those Times interweaved with many Colours; as appears from the De|scription of that Veil which Hecuba offers to Minerva in the sixth Iliad, and from a Passage in the twenty second where Andromache is represented working Flowers in a Piece of this kind. They must certainly have known the Use of the Colours themselves for Painting, before they could think of dying Threads with those Colours, and weaving those Threads close to one another, in order only to a more la|borious Imitation of a thing so much more easily perform'd by a Pencil. This Observation I owe to the Abbè Fraguier.

It may indeed be thought, that a Genius so vast and com|prehensive as that of Homer might carry his Views beyond the rest of Mankind, and that in this Buckler of Achilles he rather design'd to give a Scheme of what might be per|form'd,

than a Description of what really was so: And since he made a God the Artist, he might excuse himself from a strict Confinement to what was known and practised in the Time of the Trojan War. Let this be as it will, it is certain that he had, whether by Learning, or by Strength of Genius, (tho' the latter be more glorious for Homer) a full and exact Idea of Painting in all its Parts; that is to say, in the Invention, the Composition, the Expression, &c.

The Invention is shewn in finding and introducing, in every Subject, the greatest, the most significant, and most suitable Objects. Accordingly in every single Picture of the Shield, Homer constantly finds out either those Objects which are naturally the Principal, those which most conduce to shew the Subject, or those which set it in the liveliest and most agreeable Light: These he never fails to dispose in the most advantagious Manners, Situations, and Opposi|tions.

Next, we find all his Figures differently characterized, in their Expressions and Attitudes, according to their several Natures: The Gods (for instance) are distinguish'd in Air, Habit, and Proportion, from Men, in the fourth Picture; Masters from Servants, in the eighth; and so of the rest.

Nothing is more wonderful than his exact Observation of the Contrast, not only between Figure and Figure, but between Subject and Subject. The City in Peace is a Con|trast to the City in War: Between the Siege in the fourth Picture, and the Battel in the sixth, a piece of Paisage is introduced, and rural Scenes follow after. The Country too is represented in War in the fifth, as well as in Peace in the seventh, eighth, and ninth. The very Animals are shewn in these two different States, in the tenth and the eleventh. Where the Subjects appear the same, he contrastes them some other way: Thus the first Picture of the Town in Peace having a predominant Air of Gaiety, in the Dances and Pomps of the Marriage; the second has a Character of Earnestness and Sollicitude, in the Dispute and Pleadings. In the Pieces of rural Life, that of the Plowing is of a different Character from the Harvest, and that of the Harvest from the Vin|tage. In each of these there is a Contrast of the Labour

and Mirth of the country People: In the first, some are plowing, others taking a Cup of good Liquor; in the next, we see the Reapers working in one part, and the Banquet prepar'd in another; in the last, the Labour of the Vine|yard is reliev'd with Musick and a Dance. The Persons are no less varied, Old and Young, Men and Women: There being Women in two Pictures together, namely the eighth and ninth, it is remarkable that those in the latter are of a different Character from the former; they who dress the Sup|per being ordinary Women, the others who carry Baskets in the Vineyard, young and beautiful Virgins: And these again are of an inferior Character to those in the twelfth Piece, who are distinguish'd as People of Condition by a more elegant Dress. There are three Dances in the Buckler; and these too are varied: That at the Wedding is in a circular Fi|gure, that of the Vineyard in a Row, that in the last Picture, a mingled one. Lastly, there is a manifest Contrast in the Colours; nay, ev'n in the Back-Grounds of the several Pieces: For Example, that of the Plowing is of a dark Tinct, that of the Harvest yellow, that of the Pasture green, and the rest in like manner.

That he was not a Stranger to Aerial Perspective, appears in his expresly marking the Distance of Object from Object: He tells us, for instance, that the two Spies lay a little re|mote from the other Figures; and that the Oak under which was spread the Banquet of the Reapers, stood apart. What he says of the Valley sprinkled all over with Cottages and Flocks, appears to be a Description of a large Country in Perspective. And indeed a general Argument for this may be drawn from the Number of Figures on the Shield; which could not be all express'd in their full Magnitude: And this is therefore a sort of Proof that the Art of lessening them according to Perspective was known at that Time.

What the Criticks call the three Unities, ought in reason as much to be observed in a Picture as in a Play; each should have only one principal Action, one Instant of Time, and one Point of View. In this Method of Examination also, the Shield of Homer will bear the Test: He has been more exact than the greatest Painters, who have often deviated from one or

other of these Rules; whereas (when we examine the detail of each Compartiment) it will appear,

First, that there is but one principal Action in each Pi|cture, and that no supernumerary Figures or Actions are in|troduced. This will answer all that has been said of the Con|fusion and Crowd of Figures on the Shield, by those who never comprehended the Plan of it.

Secondly, that no Action is represented in one Peice, which could not happen in the same Instant of Time. This will overthrow the Objection against so many different Acti|ons appearing in one Shield; which, in this Case, is much as absurd as to object against so many of Raphael's Cartons ap|pearing in one Gallery.

Thirdly, It will be manifest that there are no Objects in any one Picture which could not be seen in one Point of View. Hereby the Abbè Terasson's whole Criticism will fall to the Ground, which amounts but to this, that the gene|ral Objects of the Heavens, Stars and Sea, with the parti|cular Prospects of Towns, Fields, &c. could never be seen all at once. Homer was incapable of so absurd a Thought, nor could these heavenly Bodies (had he intended them for a Picture) have ever been seen together from one Point; for the Constellations and the Full Moon, for example, could ne|ver be seen at once with the Sun. But the celestial Bodies were placed on the Boss, as the Ocean at the Margin of the Shield: These were no Parts of the Painting, but the former was only an Ornament to the Projection in the middle, and the latter a Frame round about it: In the same manner as the Divisions, Projections, or Angles of a Roof are left to be ornamented at the Discretion of the Painter, with Fo|liage, Architecture, Grotesque, or what he pleases: How|ever his Judgment will be still more commendable, if he contrives to make even these extrinsical Parts, to bear some Allusion to the main Design: It is this which Homer has done, in placing a sort of Sphere in the middle, and the Ocean at the Border, of a Work, which was expressly intend|ed to represent the Universe.

I proceed now to the Detail of the Shield; in which the Words of Homer being first translated, an Attempt will be made to shew with what exact Order all that he describes may enter into the Composition, according to the Rules of Painting.

THE SHIELD of ACHILLES Divided into its several Parts.

The BOSS of the SHIELD.

VERSE 483. 〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

Here Vulcan repre|sented the Earth, the Heaven, the Sea, the indefati|gable Course of the Sun, the Moon in her full, all the celestial Signs that crown Olympus, the Pleiades, the Hyades, the great Orion, and the Bear, commonly call'd the Wain, the only Constellation which never bathing itself in the Ocean, turns about the Pole, and observes the Course of Orion.

The Sculpture of these resembled somewhat of our terre|strial and celestial Globes, and took up the Center of the Shield: 'Tis plain by the huddle in which Homer expresses this, that he did not describe it as a Picture for a point of Sight.

The Circumference is divided into twelve Compartiments, each being a separate Picture: As follow,

First Compartiment A Town in Peace,

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

He engraved two Cities; in one of them were represented Nuptials and Festivals. The Spouses from their bridal Chambers, were conducted thro' the Town by the Light of Torches. Every Mouth sung the Hymeneal Song: The Youths turn'd rapidly about in a circular Dance: The Flute and the Lyre resounded: The Women, every one in the Street, standing in the Porches, beheld and admired.

In this Picture, the Brides preceded by Torch-bearers are on the Fore-ground: The Dance in Circles, and Musicians behind them: The Street in Perspective on either side, the Women and Spectators, in the Porches, &c. dispers'd thro' all the Architecture.

Second Compartiment. An Assembly of People.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

There was seen a Number of People in the Market-place, and two Men disputing warmly: The Occa|sion was the Payment of a Fine for a Murder, which one affirm'd before the People he had paid, the other deny'd to have receiv'd; both demanded, that the Affair should be determined by the Judgment of an Arbiter: The Acclamations of the Mul|titude favour'd sometimes the one Party, sometimes the other.

Here is a fine Plan for a Master-piece of Expression; any Judge of Painting will see our Author has chosen that Cause which of all others, wou'd give occasion to the greatest Va|riety of expression: The Father, the Murderer, the Wit|nesses, and the different Passions of the Assembly, would af|ford an ample Field for this Talent even to Raphael himself.

Third Compartiment. The Senate.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

The Heralds rang'd the People in order: The reverend Elders were seated on Seats of polish'd Stone, in the sacred Circle; they rose up and declared their Judgment, each in his Turn, with the Scepter in his Hand: Two Talents of Gold were laid in the middle of the Circle, to be given to him who should pronounce the most equitable Judg|ment.

The Judges are seated in the Center of the Picture; one (who is the principal Figure) standing up as speaking, ano|ther in an Action of rising, as in order to speak: The Ground about 'em a Prospect of the Forum, fill'd with Auditors and Spectators.

Fourth Compartiment. A Town in War.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

The other City was besieged by two glittering Armies: They were not agreed, whether to sack the Town, or divide all the Booty of it into two equal Parts, to be shared between them: Meantime the besieged secretly armed themselves for an Ambuscade. Their Wives, Children, and old Men were posted to defend the Walls: The Warriors march'd from the Town with Pallas and Mars at their Head: The Deities were of Gold, and had golden Armours, by the Glory of which they were distinguish'd above the Men, as well as by their superior Stature, and more elegant Proportions.

This Subject may be thus disposed: The Town pretty near the Eye, a-cross the whole Picture, with the old Men on the Walls: The Chiefs of each Army on the Fore|ground: Their different Opinions for putting the Town to the Sword, or sparing it on account of the Booty, may be express'd by some having their Hands on their Swords, and looking up to the City, others stopping them, or in an Acti|on of persuading against it. Behind, in Prospect, the Towns|men may be seen going out from the back Gates, with the two Deities at their Head.

Homer here gives a clear Instance of what the Ancients always practised; the distinguishing the Gods and Goddesses by Characters of Majesty or Beauty somewhat superior to Nature; we constantly find this in their Statues, and to this the modern Masters owe the grand Taste in the Perfection of their Figures.

Fifth Compartiment. An Ambuscade.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

Being arrived at the River where they design'd their Ambush (the Place where the Cattel were water'd) they dispos'd themselves along the Bank, cover'd with their Arms: Two Spies lay at a distance from them, observing when the Oxen and Sheep should come to drink. They came immediately, followed by two Shepherds, who were playing on their Pipes, without any Apprehension of their Danger.

This quiet Picture is a kind of Repose between the last, and the following, active Pieces. Here is a Scene of a Ri|ver and Trees, under which lye the Soldiers, next the Eye of the Spectator; on the farther Bank are placed the two Spies on one Hand, and the Flocks and Shepherds appear coming at a greater Distance on the other.

Sixth Compartiment. The Battel.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

The People of the Town rush'd upon them, carried off the Oxen and Sheep, and kill'd the Shepherds. The Besiegers sitting before the Town, heard the Outcry, and mounting their Horses, arriv'd at the Bank of the River; where they stopp'd, and encounter'd each other with their Spears. Discord, Tumult, and Fate rag'd in the midst of them. There might you see cruel Destiny dragging a dead Soldier thro' the Battel; two others she seiz'd alive; one of which was mortally wounded; the other not yet hurt: The Garment on her Should|ers was stain'd with human Blood: The Figures appear'd as if they lived, moved, and fought, you would think they really drag|ged off their Dead.

The Sheep and two Shepherds lying dead upon the Fore|ground. A Battel-piece fills the Picture. The Allegorical Figure of the Parca or Destiny is the Principal. This had been a noble Occasion for such a Painter as Rubens, who has with most Happiness and Learning, imitated the Ancients in these fictitious and symbolical Persons.

Seventh Compartiment. Tillage.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉.]

The next Piece represented a large Field, a deep and fruitful Soil, which seem'd to have been three times plow'd; the Labourers appear'd turning their Plows on every side. As soon as they came to a Land's end, a Man presented them a Bowl of Wine; cheared with this, they re|turn'd, and worked down a new furrow, desirous to hasten to the next Land's end. The Field was of Gold, but look'd black

behind the Plows, as if it had really been turn'd up; the sur|prizing Effect of the Art of Vulcan.

The Plowmen must be represented on the Fore-ground, in the Action of turning at the End of the Furrow. The Invention of Homer is not content with barely putting down the Figures, but enlivens them prodigiously with some re|markable Circumstance: The giving a Cup of Wine to the Plowmen must occasion a fine Expression in the Faces.

Eighth Compartiment. The Harvest.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

Next he represented a Field of Corn, in which the Reapers worked with sharp Sickles in their Hands; the Corn fell thick along the Furrows in equal Rows: Three Binders were employed in making up the Sheaves: The Boys attending them, gather'd up the loose Swarths, and carried them in their Arms to be bound: The Lord of the Field standing in the midst of the Heaps, with a Scepter in his Hand, rejoyces in Silence: His Officers, at a Distance, prepare a Feast un|der the Shade of an Oak, and hold an Ox ready to be sacri|ficed; while the Women mix the Flower of Wheat for the Reap|er's Supper.

The Reapers on the Fore-ground, with their Faces towards the Spectators; the Gatherers behind, and the Children on the farther Ground. The Master of the Field, who is the chief Figure, may be set in the middle of the Picture with a strong Light upon him, in the Action of directing and pointing with his Scepter: The Oak, with the Servants un|der it, the Sacrifice, &c. on a distant Ground, would alto|gether make a beautiful Grouppe of great Variety.

Ninth Compartiment. The Vintage.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

He then engraved a Vineyard loaden with its Grapes: The Vineyard was Gold, but the Grapes black, and the Props of them Silver. A Trench of a dark Me|tal, and a Palisade of Tin encompass'd the whole Vineyard.

There was one Path in it, by which the Labourers in the Vine|yard pass'd: Young Men and Maids carried the Fruit in wo|ven Baskets: In the middle of them a Youth play'd on the Lyre and charmed them with his tender Voice, as he sung to the Strings (or as he sung the Song of Linus:) The rest striking the Ground with their Feet in exact time, follow'd him in a Dance, and accompanied his Voice with their own.

The Vintage scarce needs to be painted in any Colours but Homer's. The Youths and Maids toward the Eye, as coming out of the Vineyard: The Enclosure, Pales, Gate, &c. on the Fore-ground. There is something inexpressibly riant in this Piece, above all the rest.

Tenth Compartiment. Animals.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

He graved a Herd of Oxen, marching with their Heads erected; These Oxen (inlaid with Gold and Tin) seem'd to bellow as they quitted their Stall, and run in haste to the Meadows, through which a rapid River roll'd with resounding Streams amongst the Rushes: Four Herdsmen of Gold attended them, follow'd by nine large Dogs: Two terri|ble Lions seized a Bull by the Throat, who roar'd as they dragg'd him along; the Dogs and the Herdsmen ran to his Rescue, but the Lions having torn the Bull, devour'd his Entrails, and drank his Blood, the Herdsmen came up with their Dogs and hearten'd them in vain; they durst not attack the Lions, but standing at some Distance, barked at them and shunn'd them.

We have next a fine Piece of Animals, tame and savage: But what is remarkable, is, that these Animals are not cold|ly brought in to be gazed upon: The Herds, Dogs, and Lions are put into Action, enough to exercise the Warmth and Spirit of Rubens, or the great Taste of Julio Romano.

The Lions may be next the Eye, one holding the Bull by the Throat, the other tearing out his Entrails: A Herdsman or two heartening the Dogs: All these on the Fore-ground. On the second Ground another Grouppe of Oxen, that seem to have been gone before, tossing their Heads and running; other Herdsmen and Dogs after 'em: And beyond them, a Prospect of the River.

Eleventh Compartiment. Sheep.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.

The divine Artist then engraved a large Flock of white Sheep, feeding along a beautiful Valley. Innumerable Folds, Cottages, and enclos'd Shelters, were scatter'd thro' the Prospect.

This is an entire Landscape without human Figures, an Image of Nature solitary and undisturb'd: The deepest Repose and Tranquillity is that which distinguishes it from the others.

Twelfth Compartiment. The Dance.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

The skilful Vulcan then design'd the Figure and various Motions of a Dance, like that which Daedalus of old contrived in Gnossus for the fair Ariadne. There the young Men and Maidens danced Hand in Hand; the Maids were dress'd in linen Garments, the Men in rich and shining Stuffs: The Maids had flowery Crowns on their Heads; the Men had Swords of Gold hanging from their Sides in Belts of Silver. Here they seem'd to run in a Ring with active Feet, as swiftly as a Wheel runs round when tried by the Hand of the Potter. There, they appear'd to move in many Figures, and sometimes to meet, some|times to wind from each other. A Multitude of Spectators stood round, delighted with the Dance. In the middle, two nimble Tumblers exercised themselves in Feats of Activity, while the Song was carried on by the whole Circle.

This Picture includes the greatest Number of Persons: Homer himself has group'd them, and marked the manner of the Composition. This Piece would excel in the different Airs of Beauty which might be given to the young Men and Women, and the graceful Attitudes in the various man|ners of Dancing: On which account the Subject might be fit for Guido, or perhaps cou'd be no where better executed than in our own Countrey.

The BORDER of the SHIELD.

〈 in non-Latin alphabet 〉〈 in non-Latin alphabet 〉, &c.]

Then laslly, he represented the ra|pid Course of the great Ocean, which he made to roll its Waves round the Extremity of the whole Circumference.

This (as has been said before) was only the Frame to the

whole Shield; and is therefore but slightly touch'd upon, without any mention of particular Objects.

I ought not to end this Essay, without vindicating myself from the Vanity of treating of an Art, which I love so much better than I understand: But I have been very careful to consult both the best Performers and Judges in Painting. I can't neglect this occasion of saying, how happy I think myself in the Favour of the most distinguish'd Masters of that Art. Sir Godsrey Kneller in particular allows me to tell the World, that he entirely agrees with my Sentiments on this Subject: And I can't help wishing, that he who gives this Testimony to Homer, would ennoble so great a Design by his own Execution of it. Vulcan never wrought for Thetis with more Readiness and Affection than Sir Godfrey has done for me: And so admirable a Picture of the whole Universe could not be a more agreeable Present than he has oblig'd me with, in the Portraits of some of those Persons who are to me the dearest Objects in it.