the taking of Troy, was copied (says Macrobius) almost word for word from Pisander, as the loves of Dido and Ćneas are taken from those of Medea and Jason in Apollonius, and several others in the same manner. To proceed to the allegorical fable--If we reflect upon those innumerable knowledges, those secrets of nature and physical philosophy which Homer is generally supposed to have wrapped up in his allegories, what a new and ample scene of wonder may this consideration afford us! How fertile will that imagination appear, which as able to clothe all the properties of elements, the qualifications of the mind, the virtues and vices, in forms and persons, and to introduce them into actions agreeable to the nature of the things they shadowed! This is a field in which no succeeding poets could dispute with Homer, and whatever commendations have been allowed them on this head, are by no means for their invention in having enlarged his circle, but for their judgment in having contracted it. For when the mode of learning changed in the following ages, and science was delivered in a plainer manner, it then became as reasonable in the more modern poets to lay it aside, as it was in Homer to make use of it. And perhaps it was no unhappy circumstance for Virgil, that there was not in his time that demand upon him of so great an invention as might be capable of furnishing all those allegorical parts of a poem. The marvellous fable includes whatever is supernatural, and especially the machines of the gods. If Homer was not the first who introduced the deities (as Herodotus imagines) into the religion of Greece, he seems the first who brought them into a system of machinery for poetry, and such a one as makes its greatest importance and dignity: for we find those authors who have been offended at the literal notion of the gods, constantly laying their accusation against Homer as the chief support of it. But whatever cause there might be to blame his machines in a philosophical