"round about him were dark waters, and thick

clouds of the sky." Here, agreeably to the principles established in the last Lecture, we see, with what propriety and success the circumstances of darkness and terror are applied for heightening the Sublime. So, also, the prophet Habakkuk, in a similar passage: "He stood, and measured the earth; he "beheld, and drove asunder the nations. The ever

lasting mountains were scattered; the perpetual "hills did bow; his ways are everlasting. The "mountains saw thee; and they trembled. The "overflowing of the water passed by. The deep "uttered his voice and lifted up his hands on high.

The noted instance, given by Longinus, from Moses, "God said, let there be light; and there was light;" is not liable to the censure which I passed on some of his instances, of being foreign to the subject. It belongs to the true Sublime; and the Sublimity of it arises from the strong conception it gives, of an exertion of power, producing its effect with the utmost speed and facility. A thought of the same kind is magnificently amplified in the following pas sage of Isaiah (chap. xliv. 24. 27, 28.): "Thus saith "the Lord, thy Redeemer, and he that formed thee "from the womb: I am the Lord that maketh all

things, that stretcheth forth the heavens alone, "that spreadeth abroad the earth by myself- that "saith to the deep, Be dry, and I will dry up thy "rivers; that saith of Cyrus, He is my shepherd, " and shall perform all my pleasure; even saying to Jerusalem, Thou shalt be built; and to the "Temple, Thy foundation shall be laid." There is a passage in the Psalms, which deserves to be mentioned under this head; "God," says the Psalmist

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"stilleth the noise of the seas, the noise of their "waves, and the tumults of the people." The joining together two such grand objects, as the raging of the waters, and the tumults of the people, between which there is so much resemblance as to form a very natural association in the fancy, and the representing them both as subject, at one moment, to the command of God, produces a noble effect.

Homer is a poet, who, in all ages, and by all critics, has been greatly admired for Sublimity; and he owes much of his grandeur to that native and unaffected simplicity which characterises his manner. His descriptions of hosts engaging; the animation, the fire, and rapidity, which he throws into his battles, present to every reader of the Iliad, frequent instances of Sublime Writing. His introduction of the gods, tends often to heighten, in a high degree, the majesty of his warlike scenes. Hence Longinus bestows such high and just commendations on that passage, in the XVth book of the Iliad, where Neptune, when preparing to issue forth into the engagement, is described as shaking the mountains with his steps, and driving his chariot along the ocean. Minerva, arming herself for fight in the Vth book; and Apollo, in the XVth, leading on the Trojans, and flashing terror with his Ægis on the face of the Greeks; are similar instances of Great Sublimity added to the description of battles, by the appearances of those celestial beings. In the XXth book, where all the gods take part in the engagement, according as they severally favour either the Grecians or the Trojans, the poet's genius is signally displayed, and the description rises into the most awful magnificence. All nature is represented as in commotion. Jupiter

thunders in the heavens; Neptune strikes the earth with his Trident, the ships, the city, and the mountains shake; the earth trembles to its centre; Pluto starts from his throne, in dread lest the secrets of the infernal region should be laid open to the views of mortals. The passage is worthy of being inserted.

Αὐτὰς ἐπεὶ μεθ ̓ ὅμιλον Ὀλύμπιοι ἤλυθον ἀνδρῶν,
Ωρτο δ' Ερις κρατερή, λαοσσόος αὖε δ' Αθήνη,
Αὖε δ' Αρης ἑτέρωθεν, ἐρεμνῆ λαίλαπι ἶσος,
Ὣς τὲς ἀμφωτέρες μάκαρες θεοὶ ὀτρύνοντες,
Σύμβαλον, ἐν δ ̓ αὐτοῖς ἔριδα ῥήγνυντο βαρείαν·
Δεινὸν δ ̓ ἑβροντησε πατὴρ ἀνδρῶν τε θεῶν τε
Υψόθεν αὐτὰς ἔνερθε Ποσειδάων ἐτίναξε
Γαῖαν ἀπειρεσίην, ὀρέων τ ̓ αἰπεινὰ κάρηνα.
Πάντες δ ̓ ἐσσείοντο πόδες πολυπιδάκη Ιδης,
Καὶ κορυφαὶ, Τρώων τε πόλις, καὶ νῆες ̓Αχαιῶν.
Εδδεισεν δ' ὑπένερθεν ἄναξ ἐνέρων, Αϊδωνεύς,
Δείσας δ ̓ ἐκ θρόνε ἄλτο, καὶ ἴαχε' μὴ οἱ ὑπερθε
Γαῖαν ἀναῤῥήξειε Ποσειδάων ἐνοσίχθων,
Οἰκία δὲ θνητοῖσι καὶ ἀθανάτοισι φανείη
Σμερδαλέ, εὐρώεντα, τά τε ςυγεεσι θεοὶ περ
Τόσσος ἄρα κτύπος ἄρτο θεῶν ἔριδι ξυνιόντων. *

Iliad, 20. 47, &c.

* But when the powers descending swell'd the fight,
Then tumult rose, fierce rage, and pale affright;
Now through the trembling shores Minerva calls,
And now she thunders from the Grecian walls.
Mars hov'ring o'er his Troy, his terror shrouds
In gloomy tempests, and a night of clouds;
Now through each Trojan heart he fury pours,
With voice divine, from Ilion's topmost towers.
Above, the Sire of Gods his thunder rolls,
And peals on peals redoubled rend the poles.
Beneath, stern Neptune shakes the solid ground,
The forests wave, the mountains nod around;

The Works of Ossian (as I have elsewhere shewn) abound with examples of the Sublime. The subjects of which that author treats, and the manner in which he writes, are particularly favourable to it. He possesses all the plain and venerable manner of the ancient times. He deals in no superfluous or gaudy ornaments; but throws forth his images with a rapid conciseness, which enables them to strike the mind with the greatest force. Among poets of more polished times, we are to look for the graces of correct writing, for just proportion of parts, and skilfully conducted narration. In the midst of smiling scenery and pleasurable themes, the gay and the beautiful will appear, undoubtedly, to more advantage. But amidst the rude scenes of nature and of society, such as Ossian describes; amidst rocks, and torrents, and whirlwinds, and battles, dwells the Sublime; and naturally associates itself with that grave and solemn spirit which distinguishes the author of Fingal. "As autumn's dark storms pour from two echoing hills, so toward each other "approached the heroes. As two dark streams from

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Through all her summits tremble Ida's woods,
And from their sources boil her hundred floods.
Troy's turrets totter on the rocking plain,
And the toss'd navies beat the heaving main.

Deep in the dismal region of the dead,

Th' infernal monarch rear'd his horrid head,

Leapt from his throne, lest Neptune's arms should lay
His dark dominions open to the day;

And pour in light on Pluto's drear abodes,

Abhorr'd by men, and dreadful ev'n to Gods.

Such wars th' immortals wage; such horrors rend

The world's vast concave, when the Gods contend.. POPE.

"high rocks meet and mix, and roar on the plain : loud, rough, and dark, in battle, met Lochlin and "Inisfail; chief mixed his strokes with chief, and "man with man. Steel clanging sounded on steel. "Helmets are cleft on high; blood bursts, and "smokes around. As the troubled noise of the "ocean when roll the waves on high; as the last "peal of the thunder of heaven; such is the noise "of battle. The groan of the people spread over "the hills. It was like the thunder of night, when "the cloud bursts on Cona, and a thousand ghosts "shriek at once on the hollow wind.” Never were images of more awful Sublimity employed to heighten the terror of battle.

I have produced these instances, in order to demonstrate that conciseness and simplicity are essential to Sublime Writing. Simplicity, I place in opposition to studied and profuse ornament; and conciseness, to superfluous expression. The reason why a defect, either in conciseness or simplicity, is hurtful in a peculiar manner to the Sublime, I shall endeavour to explain. The emotion occasioned in the mind by some great or noble object, raises it considerably above its ordinary pitch. A sort of enthusiasm is produced, extremely agreeable while it lasts; but from which the mind is tending every moment to fall down into its ordinary situation. Now, when an author has brought us, or is attempting to bring us, into this state, if he multiplies words unnecessarily, if he decks the sublime object which he presents to us, round and round, with glittering ornaments: nay, if he throws in any one decoration that sinks in the least below the capital image, that moment he alters the key; he relaxes the tension of the mind; the