cumstances must be so
connected with it, as to exhibit a succession of sentiments which
resemble, at least remotely, the subject of his Poem[67]. It must be
obvious, at first view, that as the Lyric Poet cannot adopt this plea,
his metaphors will always have the happiest effect, when they correspond
to the object in such a manner, as to shew its compleat proportions in
the fullest point of view, without including foreign and unappropriated
epithets. This however is not the course which a Writer of imagination
will naturally follow, unless his judgment restrains the excursions of
that excentric faculty. He will, on the contrary, catch with eagerness
every image which Fancy enlivens with the richest colouring, and he will
contemplate the external beauty of his metaphor, rather than consider
the propriety with which it is applied as an illustration. It is
probably owing to this want of just attention to propriety, that the
first Lyric Poets have left such imperfect standards to the imitation of
posterity.

[Footnote 67: The reader will meet with many examples of this
liberty in the Iliad, some of which Mr. Pope has judiciously
selected in the notes of his translation. Milton, in the same
spirit, compares Satan lying on the lake of fire, to a Leviathan
slumbering on the coast of Norway; and immediately digressing from
the strict points of connection, he adds, "that the mariners often
mistake him for an island, and cast anchor on his side." Par.
Lost, B. II. In this illustration it is obvious, that though the
Poet deviates from close imitation, yet he still keeps in view the
general end of his subject, which is to exhibit a picture of the
fallen Arch angel. See Par. Lost, B. I.]

When we examine the works of later Poets among the Ancients, we find
that even those of them who are most exceptionable in other
circumstances, have yet in a great measure corrected this mistake of
their predecessors. In the lyric Odes of Euripides and Sophocles, the
metaphors made use of are generally short, expressive, and fitted to
correspond with great accuracy to the point which requires to be
illustrated[68]. Pindar is in many instances equally happy in the choice
of his images, which are frequently introduced with address, and produce
a very striking effect[69].

[Footnote 68: The reader may consider, as an example, of the
following verses of the Ode of Sophocles to the Sun.

+Pol