more accurately defining his theory of perfection in epic poetry. It belongs, in his opinion, to a perfect epic action, that the hero of the poem should as much as possible be kept present in the scene of action. On epic machinery Ericeyra pronounces nearly the same judgment as Boileau, namely, that when a modern introduces into his poetry the Christian system of the ancient mythology, the pleasure to be derived from epic composition is destroyed. Even the Jerusalem Delivered, would be a tedious work, had not Tasso enlivened the “pious melancholy of the subject” by the introduction of magic and by other means. The example set by Camoens, who introduced into modern poetry all the mythological deities as allegorical characters, is recommended as highly worthy of imitation; but nevertheless Tasso’s plan is not to be altogether condemned. Ericeyra makes some very judicious observations on the epic treatment of real history. Lucan, he says, was the first who disfigured epic poetry by writing merely as a poetic historian; and he attributes the ill success of the Spaniards in epic poetry to their having always preferred Lucan to every other model. His remarks on the epic character are no less correct; and his opinions on language and style are such as might be expected from a man of sound and cultivated understanding. He praises the dramatic style of Corneille, Racine and Moliere. From these authors, he observes, a writer may learn how to express naturally the heroic and tender passions in their full force, and without the false glare which disfigures the works of many modern and also some ancient poets. Thus the Count da Ericeyra endeavoured to vindicate his own poem before the tribunal of the public. The most remarkable circumstance with respect to the whole treatise is the little value which the author attaches to poetic allegory. When it is recollected in what esteem allegory was held by the early Portuguese critics, Ericeyra’s treatise, though in other respects unimportant, and only interesting in its connection with the whole of Portuguese literature, will be recognised as at least a step gained in literary criticism. GARÇAÕ’S LECTURES.