as the daughter of Cepheus, king of Ethiopia,
and of Cassiope. Cassiope boasted that she and her daughter were more
beautiful than Juno and the Nereids. Andromeda, to appease the goddess,
was, at her father's command, chained to a rock to be devoured by a sea
monster, but was saved by Perseus, who obtained of Jupiter that all the
family should be placed among the stars. Orion was a hunter, who, for an
attempt on Diana, was stung to death by a serpent. The star of his name
portends tempests. The Dogs; fable gives this honour to those of
different hunters. The faithful dog of Erigone, however, that died mad
with grief for the death of his mistress, has the best title to preside
over the dog-days. The Swan; whose form Jupiter borrowed to enjoy Leda.
The Hare, when pursued by Orion, was saved by Mercury, and placed in
heaven, to signify that Mercury presides over melancholy dispositions.
The Lyre, with which Orpheus charmed Pluto. The Dragon which guarded the
golden apples of the Hesperides, and the ship Argo complete the number
of the constellations mentioned by Camoens. If our author has blended
the appearances of heaven with those of the painted artificial sphere,
it is in the manner of the classics. Ovid, in particular, thus describes
the heavens, in the second book of his Metamorphoses.

[631] _Such are their laws impress'd by God's dread will._--Though a
modern narrative of gallant adventures by no means requires the
supposition of a particular Providence, that supposition, however, is
absolutely necessary to the grandeur of an epic poem. The great examples
of Homer and Virgil prove it; and Camoens understood and felt its force.
While his fleet combat all the horrors of unploughed oceans, we do not
view his heroes as idle wanderers; the care of heaven gives their voyage
the greatest importance. When GAMA falls on his knees and spreads his
hands to heaven on the discovery of India, we are presented with a
figure infinitely more noble than that of the most successful conqueror
who is supposed to act under the influence of fatalism or chance. The
human mind is conscious of its own weakness. It expects an elevation in
poetry, and demands a degree of importance superior to the caprices of
unmeaning accident. The poetical reader cannot admire the hero who is
subject to such blind fortuity. He appears to us with an abject,
uninteresting littleness. Our poetical ideas of permanent greatness
demand a GAMA, a hero whose enterpri