those ages, some portion of them was owing to the influence of christian morality. The church of Rome had, it is true, invented various pernicious modes of eluding its obligation. Still she was careful not to lose sight of it altogether. Her wealth and influence arose chiefly from indulgences, penances, and atonements, which could not have been productive, without a consciousness of guilt on the part of her votaries. It was her interest, therefore, to keep in view some of the leading principles of morality; nor was she disposed, as some sects have been, to vilify and depreciate it.

But if the romance writers possess, in this respect, some superiority over Homer, in point of genius they are far inferior, and have never, therefore, been held in nearly the same estimation. Their merit seems, indeed, to have been rather under-rated; partly from the great extravagance of their fictions, and partly from the ridicule thrown on them by the celebrated novel of Cervantes. The specimen, which has lately been laid before us by Mr. Southey, is not only

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interesting by the views which it gives of manners, but possesses a very respectable share of literary merit. With that simplicity which is the great charm of those early writings, it unites considerable descriptive and pathetic powers.

On the foundation of these romances, Ariosto has raised his poem of Orlando Furioso; a strange, wild, heterogeneous, production; displaying, however, great richness of fancy, and brilliancy of description, together with a very considerable portion of wit and humour. Its extreme licentiousness, however, detracts considerably from its merit in a moral point of view.

We proceed now to consider those prose fictions which have appeared in Europe, fince the period of the revival of learning. These have been confined chiefly to France and England. We shall begin with noticing some of the most remarkable which have appeared in the former country.

FENELON.

The first that seems deserving of notice is Telemachus, the production of the amiable Fenelon. This work, like the Cyropædia of Xenophon, was composed chiefly with a view to the instruction of its readers. It does not proceed, however, up-. on the same plan. Telemachus is oftener held forth as a warning than as an example. This the author might find convenient as a delicate mode of pointing out the faults of his royal pupil, and warning him of the deference which he owed to his preceptor. But it renders the work in some respects less adapted to general use. The reader is sometimes in danger of sharing the errors of Telemachus; and, like him, of regarding with aversion the severity of Mentor. On other occasions, his misconduct is such as to render his character less interesting, and, consequently, the narrative less agreeable. The first part, where nothing of this kind occurs, is by much the most original and pleasing.

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Upon the whole, the chief merit of Telemachus consists in the spirit which breathes throughout, and particularly in the reflections with which it is interspersed. Reflections, indeed, are rather out of place in a work of this nature: but these are so extremely beautiful, and come with such propriety from the mouth of Mentor, that they may well claim an exemption from the general rule.

As a work of genius, Telemachus is entitled to a very high rank. It is not, like the Cyropædia, a mere prose narrative. Though not written in verse, the style and sentiments are altogether poetical; so that it occupies a sort of middle place between the two species of composition. The style is pure, copious, flowing, rather defective in order and precision, but bearing everywhere marks of the richest and most beautiful imagination. This character applies particularly to the two or three first books. The warlike scenes at the conclusion were not so well suited to his genius; and he has there trod rather too closely in the footsteps of Homer and Virgil.

The immediate object which Fenelon proposed to himself in this undertaking, was disappointed by the untimely death of the young prince, whose education he superintended. It has not, however, on that account, been a fruitless labour. There can be no doubt of its having had a great and beneficial effect on the general spirit of the age. To it, perhaps, we may in some degree ascribe that humanity, and that concern for the welfare of their people, by which the sovereigns of Europe, during the eighteenth century, were so honourably distinguished.*

LE SAGE.

From Fenelon, we pass to one who has written in a different style, but with no less success; to Le Sage, the great painter of human life. The view of it given in his Gil Blas, is the most comprehensive that has appeared in this, or perhaps any other kind

Gentz, Etat de l'Europe. Soulavic.