are the most excusable in compositions of genius; nor is it ever permitted to judge of the civility or wisdom of any people, or even of single persons, by the grossness or refinement of their theological principles. The same good sense that directs men in the ordinary occurrences of life, is not hearkened to in religious matters, which are supposed to be placed altogether above the cognizance of human reason. On this account, all the absurdities of the Pagan system of theology must be overlooked by every critic, who would pretend to form a just notion of ancient poetry; and our posterity, in their turn, must have the same indulgence to their forefathers. No religious principles can ever be imputed as a fault to any poet, while they remain merely principles, and take not such strong possession of his heart as to lay him under the imputation of bigotry or superstition. Where that happens, they confound the sentiments of morality, and alter the natural boundaries of vice and virtue. They are therefore eternal blemishes, according to the principle above mentioned; nor are the prejudices and false opinions of the age sufficient to justify them. It is essential to the Roman Catholic religion to inspire a violent hatred of every other worship, and to represent all Pagans, Mahometans, and heretics, as the objects of divine wrath and vengeance. Such sentiments, though they are in reality very blamable, are considered as virtues by the zealots of that communion, and are represented in their tragedies and epic poems as a kind of divine heroism. This bigotry has disfigured two very fine tragedies of the French theatre, POLIEUCTE and ATHALIA; where an intemperate zeal for particular modes of worship is set off with all the pomp imaginable, and forms the predominant character of the heroes. "What is this," says the sublime Joad to Josabet, finding her in discourse with Mathan the priest of Baal, "Does the daughter of David speak to this traitor? Are you not afraid lest the earth should open, and pour forth flames to devour you both? Or lest these holy walls should fall and crush you together? What is his purpose? Why comes that enemy of God hither to poison the air, which we breathe, with his horrid pres ence?" Such sentiments are received with great applause on the theatre of Paris; but at London the spectators would be full as much pleased to hear Achilles tell Agamemnon, that he was a dog in his forehead, and a deer in his heart; or Jupiter threaten Juno with a sound drubbing, if she will not be quiet. Religious principles are also a blemish in any polite composition, when they rise up to superstition, and intrude themselves into every sentiment, however remote from any connection with religion. It is no excuse for the poet, that the customs of his country had burdened life with so many religious ceremonies and observances, that no part of it was exempt from that yoke. It must for ever be ridiculous in Petrarch to compare his mistress, Laura, to Jesus Christ. Nor is it less ridiculous. in that agreeable libertine, Boccace, very seriously to give thanks to God Almighty and the ladies, for their assistance in defending him against his enemies. |