and Ulysses the truth and beauty of friendship, patriotism, and
persevering devotion to an object, were unveiled to the depths in
these immortal creations: the sentiments of the auditors must have
been refined and enlarged by a sympathy with such great and lovely
impersonations, until from admiring they imitated, and from imitation
they identified themselves with the objects of their admiration.
Nor let it be objected, that these characters are remote from moral
perfection, and that they can by no means be considered as edifying
patterns for general imitation. Every epoch, under names more
or less specious, has deified its peculiar errors; Revenge is the
naked idol of the worship of a semi-barbarous age; and Self-deceit
is the veiled image of unknown evil, before which luxury and satiety
lie prostrate. But a poet considers the vices of his contemporaries
as a temporary dress in which his creations must be arrayed, and
which cover without concealing the eternal proportions of their
beauty. An epic or dramatic personage is understood to wear them
around his soul, as he may the ancient armour or the modern uniform
around his body; whilst it is easy to conceive a dress more graceful
than either. The beauty of the internal nature cannot be so far
concealed by its accidental vesture, but that the spirit of its
form shall communicate itself to the very disguise, and indicate
the shape it hides from the manner in which it is worn. A majestic
form and graceful motions will express themselves through the most
barbarous and tasteless costume. Few poets of the highest class
have chosen to exhibit the beauty of their conceptions in its
naked truth and splendour; and it is doubtful whether the alloy
of costume, habit, &c., be not necessary to temper this planetary
music for mortal ears.

The whole objection, however, of the immorality of poetry rests