though in admitting such materials in his composition, there may seem to be no contradiction given to any thing which history asserts as truth, as they must be evidently the product of invention. Any distinction which would be made in favour of these incidents is not real, but imaginary; for the introduction of all such facts, must be virtually an alteration, if not of the particular truth of any incident in the work, most certainly of that collective truth which makes up the body of its subject, and which by its general effect affords the most striking interest to engage the imagination.

On the whole, with the important incidents, no liberty should be taken in altering their verity, where they happen to be authentick. And here we may appeal to Lucan, as fully confirming and exemplifying the above doctrine; and the more so as his character for historick fidelity is so generally admitted, that it may be collectively cited without descending to a specifick induction of particular passages. Thus far at least his testimony receives the sanction of the criticks as unexceptionable, and definitive; but as a suffrage singularly appropriate in favour of his fidelity, we may adduce, in Florus, the

testimony of an historian, who has adopted his narrative as affording sufficient grounds for his details, and has followed and enlarged upon his authority.1

These incidents of greater note and importance, however, may be reducible to the rank of unimportant, from being questionable as to their truth, or doubtful as to their authority. In the former case, it is needless to remark, that they are only subject to the restrictions under which all unimportant incidents are placed. In the latter case, where there is a choice in facts, recommended by different authorities, the poet is at liberty to adopt even those which are of inferiour certainty, provided they have some credit, and afford any thing to heighten the beauty, or improve the interest of his subject. For the importance of such incidents being sunk in the circumstance of their truth being questionable, and as they possess little to recommend them in point of verisimilitude, in having but doubtful credit, it is by their beauty principally that they can impart that pleasure, which is the end of his compo

The commentators on Lucan have occasionally pointed out the imitations of this historian from the poet; as an instance in point, see their illustrations of lib. iv. v. 402.

sitions, and which saves their littleness and their doubtfulness from observation.

There are facts besides those which we term important, such as are virtually inconsiderable in themselves, and hang upon the subject by a slight dependance, without contributing essentially to forward its action. It is over such subordinate incidents, that the Poetick Licence of the historick epopee extends with the greatest latitude; and under the cover of it the poet may claim the liberty of altering, omitting, or introducing them, as may be most conducive to the consummation of that interest which it is the end of his art to awaken. The power he may use over incidents of this description, is subject to no restriction but that of preserving them in their subordinate character: for, as it is almost needless to observe, this character being once exceeded, those facts change their nature, and became subject to every restriction in having become important.

The confirmation and exemplification of these conclusions, may be likewise referred to the decision of Lucan; to his work we may confidently appeal, as affording some justification of the rectitude, and every illustration of the feasibility of this doctrine.

The poet, however rigidly attached he may appear to historick truth, has yet occasionally availed himself of those licences in altering subordinate incidents, which were calculated to heighten the effect of his poem, by rendering it more striking. Thus we may observe, that in order to increase the interest of his work by exalting the popular cause, it is his general practice to extol the actions of those persons who devoted themselves to the side of liberty, and to depress the characters of those who attached themselves to the politicks of Cæsar. With this view, he has used a considerable licence in magnifying beyond the truth of history, the characters of some of Pompey's adherents. Thus Domitius Enobarbus is uniformly represented as courageous and warlike, though certainly not well entitled to such commendation.

m At te Corfini validis circumdata muris
Tecta tenent pugnax Domiti.

PHARS. lib. ii. v. 478.

m But in Corfinium bold Domitius lies,

And from its walls the advancing power defies.

ROWE'S PHARS. ii. v. 722.

...

tibi numine pugnax

Adverso, Domiti, dextri frons tradita Martis.

lb. lib. vii. v. 219.

His conduct when pardoned by Cæsar at Corfinium, is made to appear noble and exalted.

Et secum:

premit ille graves interritus iras

Romamne petes, pacisque recessus

Degener? Tu medios belli non ire furores

'Jamdudum moriture paras? Rue certus, et omnes 'Lucis sumpe moras, et Cæsaris effuge munus.'

Ib. lib. ii. v. 521.

And his death at the battle of Pharsalia, is distinguished with every mark of honour.

P Mors tamen eminuit clarorum in strage virorum
Pugnacis Domiti, quem clades fata per omnes

n Luckless Domitius, vainly brave in war,

Drew forth the right with unauspicious care.

Ib. vii. v. 325.

Struggling with rage, undaunted he represt

The swelling passions in his lab'ring breast;

Thus murm'ring to himself: 'wo't thou to Rome
Base as thou art, and seek thy lazy home?
To war, to battle, to destruction fly,
And haste, as it becomes thee well, to die;
Provoke the worst effects of deadly strife,
And rid thee of this Caesar's gift, this life.

Ib. ii. v. 786.

Among huge heaps of the Patrician slain,
And Latian chiefs, who strew'd that purple plain,