exact than the distinctions he has observed in the different degrees of virtues and vices. The single quality of courage is wonderfully diversified in the several characters of the Iliad. That of Achilles is furious and untractable; that of Diomed forward, yet listening to advice and subject to command; that of Ajax is heavy, and self-confiding; of Hector, active and vigilant; the courage of Agamemnon is inspirited by love of empire and ambition; that of Menelaus mixed with softness and tenderness for his people: we find in Idomeneus a plain direct soldier, in Sarpedon a gallant and generous one. Nor is this judicious and astonishing diversity to be found only in the principal quality which constitutes the main of each character, but even in the underparts of it, to which he takes care to give a tincture of that principal one. For example, the main characters of Ulysses and Nestor consist in wisdom; and they are distinct in this, that the wisdom of one is artificial and various, of the other natural, open, and regular. But they have, besides, characters of courage; and this quality also takes a different turn in each from the difference of his prudence; for one in the war depends still upon caution, the other upon experience. It would be endless to produce instances of these kinds. The characters of Virgil are far from striking us in this open manner; they lie in a great degree hidden and undistinguished, and where they are marked most evidently, affect us not in proportion to those of Homer. His characters of valour are much alike; even that of Turnus seems no way peculiar, but as it is in a superior degree; and we see nothing that differences the courage of Mnestheus from that of Sergestus, Cloanthus, or the rest. In like manner it may be remarked of Statius's heroes, that an air of impetuosity runs through them all; the same horrid and savage courage appears in his Capaneus, Tydeus, Hippomedon, etc. They have a parity of character which makes them seem brothers of one family. I believe when the reader is led into this track of reflection, if he will pursue it through the Epic and Tragic writers, he will be convinced how infinitely superior in this point the invention of Homer was to that of all others.
The speeches are to be considered as they flow from the characters, being perfect or defective as they agree or disagree with the manners of those who utter them. As there is more variety of characters in the Iliad, so there is of speeches, than in any other poem. "Every thing in it has manners," as Aristotle expresses it; that is, everything is acted or spoken. It is hardly credible in
