They differ, also, in the Event, or Conclusion. In Tragedy, the Conclusion is generally unfortunate, but never so in Epic; the Reasons of which Rule are, First, The Examples of Homer, and Virgil, who are, and ought te be our Guides, and Masters; even Achilles, the Hero of the Poem as he is, tho' very undeservedly, comes off with Success; and much more should Ulysses and Æneas. In this Particular these Writers have been universally follow'd by all, who wou'd be thought Epic Writers; for which Reason, Statius (as Bossu has observ'd) rather chose to break the Unity of the Action, than make his Thebais end unfortunately, after the miserable Fratricide of Eteocles and Polynices. And not only the Authority of these Poets, but the very Reason of the Thing, supplies us with Arguments for this Rule. First, Altho' in Tragedy (where the Action is much shorter, more simple, and finish'd, as it were, at a Heat) an unfortunate Conclusion may be so far from displeasing, that it may be agreeable to the Audience; yet in Epic, after such a Series and Variety of Adventures, after sustaining so many, and so great Difficulties, the Reader must be out of Humour with the Poet, unless the whole should conclude happily at last. 2dly, The chief End of Tragedy is, to purge the Passions, especially those of Terror and Pity, by a short and brisk Emotion; but the Design of Epic Poetry is, by more slow and leisurely Operations, to remove bad Habits, and restore good ones; to subdue Vice, and recommend Virtue; which would be done with a very ill Grace, if the Hero of the Poem, or the Prince endu'd with heroic Virtue, (for such he either is, or ought to be) should come to a deplorable End. 3dly, An Epic Poem, properly so call'd, is, and always must be written in Honour of the Country, or the Religion of the Author; between which, and the Hero, there is a near Relation; and therefore he ought to come off in Triumph at last. Bossu inclines to this Opinion, nay, expressly determines, that this is the truer Conduct. I have ventur'd to advance a Step further, being of Opinion, for the Reasons now alledg'd, it is not only proper, but essential to Heroic Poetry; and, in Consequence of that Opinion, have made a happy Conclusion Part of the Definition. The two Differences, therefore, that we spoke of, between Tragedy and Epic, are (as the Schools term it) specific Differences, the others are only accidental; those are Differences in Nature, these only in Degree, Extent, or Greatness.
Thirtieth Lecture.
The Moderns seem to mistake that Part of Epic and Tragedy which contains the το θαυμασον, or the wonderful, confounding the wonderful with the improbable, and using those two Words promiscuously. If it was really so, the το θαυμασον would always be faulty; for that is always faulty, which is improbable. These poetical Prodigies would be improbable, if they were represented to be perform'd by any human Power: But the Case is quite different. The Divine Power, and the Agency of the Gods, make all this agreeable to Reason. Thus, in Homer, that the Horses should speak; and, in Virgil, that the Myrtle Roots should drop Blood, is wonderful, but not improbable: For our most ingenious Translator of Homer seems to be mistaken, when he asserts, that these were perform'd without the Interposal of the Gods. As to the latter, Virgil[468] expresly declares it to be a Prodigy:
Horrendum, & dictu video mirabile monstrum.
And a little after,
[469] ——Nymphas venerabat agrestes, Gradivumque Patrem, Geticis qui præsidet arvis, Rite secundarent visus, omenque levarent.
I implore the rural Nymphs, And Mars, who o'er the Getic Field presides, The Omen to avert, and grant Success.
But plainer still, in what follows:
[470] Monstra deum refero.
As to Homer, he, in express Terms, asserts, that Juno made the Horse speak[471]: