All this the poet knew very well; but his purpose was not to write a classic poem. He chose to adorn a Gothic story; and, to be consistent throughout, he chose that the form of his work should be of a piece with his subject.
Did the poet do right in this? I cannot tell: but, comparing his work with that of another great poet, who followed the system you seem to recommend, I see no reason to be peremptory in condemning his judgment.
The example of this poet deserves to be considered. It will afford, at least, a fresh confirmation of the point, I principally insist upon, the pre-eminence of the Gothic manners and fictions, as adapted to the ends of poetry, above the classic.
I observed of the famous Torquato Tasso, that, coming into the world a little of the latest for the success of the pure Gothic manner, he thought fit to trim between that and the classic model.
It was lucky for his fame, that he did so. For the Gothic fables falling every day more and more into contempt, and the learning of the times, throughout all Europe, taking a classic turn, the reputation of his work has been chiefly founded on the strong resemblance it has to the ancient Epic poems. His fable is conducted in the spirit of the Iliad; and with a strict regard to that unity of action which we admire in Homer and Virgil.
But this is not all; we find a studied and close imitation of those poets, in many of the smaller parts, in the minuter incidents, and even in the descriptions and similes of his poem.
The classic reader was pleased with this deference to the public taste: he saw with delight the favourite beauties of Homer and Virgil reflected in the Italian poet; and was almost ready to excuse, for the sake of these, his magic tales and fairy enchantments.
I said, was almost ready; for the offence given by these tales to the more fashionable sort of critics was so great, that nothing, I believe, could make full amends, in their judgment, for such extravagancies.
However, by this means, the Gierusalemme Liberata made its fortune amongst the French wits, who have constantly cried it up above the Orlando Furioso, and principally for this reason, that Tasso was more classical in his fable, and more sparing in the wonders of Gothic fiction, than his predecessor.
The Italians have indeed a predilection for their elder bard; whether from their prejudice for his subject; their admiration of his language; the richness of his invention; the comic air of his style and manner; or from whatever other reason.