Under the supposed disadvantage of a limited knowledge, and a rude apprehension, the simple poet has impressions that more than compensate the defects of his skill. The best subjects of poetry, the characters of the violent and the brave, the generous and the intrepid, great dangers, trials of fortitude and fidelity, are exhibited within his view, or are delivered in traditions which animate like truth, because they are equally believed. He is not engaged in recalling, like Virgil or Tasso, the sentiments or scenery of an age remote from his own; he needs not be told by the critic, [Footnote: See Longinus.] to recollect what another would have thought, or in what manner another would have expressed his conception. The simple passions, friendship, resentment, and love, are the movements of his own mind, and he has no occasion to copy. Simple and vehement in his conceptions and feelings, he knows no diversity of thought, or of style, to mislead or to exercise his judgment. He delivers the emotions of the heart, in words suggested by the heart; for he knows no other. And hence it is, that while we admire the judgment and invention of Virgil, and of other later poets, these terms appear misapplied to Homer. Though intelligent, as well as sublime, in his conceptions, we cannot anticipate the lights of his understanding, nor the movements of his heart; he appears to speak from inspiration, not from invention; and to be guided in the choice of his thoughts and expressions by a supernatural instinct, not by reflection. The language of early ages is, in one respect, simple and confined; in another, it is varied and free: it allows liberties, which, to the poet of after-times, are denied. In rude ages men are not separated by distinctions of rank or profession. They live in one manner, and speak one dialect. The bard is not to choose his expression among the singular accents of different conditions. He has not to guard his language from the peculiar errors of the mechanic, the peasant, the scholar, or the courtier, in order to find that elegant propriety, and just elevation, which is free from the vulgar of one class, the pedantic of the second, or the flippant of the third. The name of every object, and of every sentiment, is fixed; and if his conception has the dignity of nature, his expression will have a purity which does not depend on his choice. With this apparent confinement in the choice of his words, he is at liberty to break through the ordinary modes of construction; and in the form of a language not established by rules, may find for himself a cadence agreeable to the tone of his mind. The liberty he takes, while his meaning is striking, and his language is raised, appears an improvement, not a trespass on grammar. He delivers a style to the ages that follow, and becomes a model from which his posterity judge.