N° 152. and the condition in which she had left his father, his son, and more particularly his wife. She tells him, "they were all three inconsolable for his absence. As for myself," says she, "that was the sickness of which I died. My impatience for your return, my anxiety for your welfare, and my fondness for my dear Ulysses, were the only distempers that preyed upon my life, and separated my soul from my body." Ulysses was melted with these expressions of tenderness, and thrice endeavoured to catch the apparition in his arms, that he might hold his mother to his bosom, and weep over her.

This gives the poet occasion to describe the notion the heathens at that time had of an unbodied soul, in the excuse which the mother makes for seeming to withdraw herself from her son's embraces. "The soul," says she, "is composed neither of bones, flesh, nor sinews; but leaves behind her all those incumbrances of mortality to be consumed on the funeral pile. As soon as she has thus cast her burden, she makes her escape, and flies away from it like a dream."

When this melancholy conversation is at an end, the poet draws up to view as charming a vision as could enter into man's imagination. He describes the next who appeared to Ulysses, to have been the shades of the finest women that had ever lived upon the earth, and who had either been the daughters of kings, the mistresses of gods, or mothers of heroes; such as Antiope, Alcmena, Leda, Ariadne, Iphimedia, Eriphyle, and several others, of whom he gives a catalogue, with a short history of their adventures. The beautiful assembly of apparitions were all gathered together about the blood: "Eachr of them," says Ulysses, as a gentle satire upon female vanity, giving me an account of her birth and family." This scene of extraordinary women

seems to have been designed by the poet as a lecture of mortality to the whole sex, and to put them in mind of what they must expect, notwithstanding the greatest perfections, and highest honours they can arrive it.

The circle of beauties at length disappeared, and was succeeded by the shades of several Grecian he roes, who had been engaged with Ulysses in the siege of Troy. The first that approached was Agamemnon, the generalissimo of that great expedition, who, at the appearance of his old friend, wept very bitterly, and, without saying any thing to him, endeavoured to grasp him by the hand. Ulysses, who was much moved at the sight, poured out a flood of tears, and asked him the occasion of his death, which Agamemnon related to him in all its tragical circumstances; how he was murdered at a banquet by the contrivance of his own wife, in confederacy with her adulterer: from whence he takes occasion to reproach the whole sex, after a manner which would be inexcusable in a man who had not been so great a sufferer by them. My wife," says he, has disgraced all the women that shall ever be born into the world, even those who hereafter shall be innocent. Take care how you grow too fond of your wife, Never tell her all you know, If you reveal some things to her, be sure you keep others concealed from her. You, indeed, have nothing to fear from your Penelope, she will not use you as my wife has treated me; however, take care how you trust a woman." The poet, in this and other instances, according to the system of many heathen as well as Christian philosophers, shows, how anger, revenge, and other habits which the soul had contracted in the body, subsist, and grow in it under its state of separation.

I am extremely pleased with the companions which the poet in the next description assigns to Achilles." Achilles," says the hero, came up to me with Patroclus and Antilochus." By which we may see that it was Homer's opinion, and probably that of the age he lived in, that the friendships which are made among the living, will likewise continue among the dead. Achilles inquires after the welfare of his son, and of his father, with a fierceness of the same character that Homer has every where expressed in the actions of his life. The passage relating to his son is so extremely beautiful, that I must not omit it. Ulysses, after having described him as wise in council and active in war, and mentioned the foes whom he had slain in battle, adds an observation that he himself had made of his behaviour, whilst he lay in the wooden horse. "Most of the generals," says he, "that were with us either wept or trembled: as for your son, I never saw him wipe a tear from his cheeks, or change his countenance. On the contrary, he would often lay his hand upon his sword, or grasp his spear, as impatient to employ them against the Trojans." He then informs his father of the great honour and rewards which he had purchased before Troy, and of his return from it without a wound. "The shade of Achilles," says the poet, 66 was so pleased with the account he received of his son, that he inquired no farther, but stalked away with more than ordinary majesty, over the green meadow that lay before them."

This last circumstance, of a deceased father's rejoicing in the behaviour of his son, is very finely contrived by Homer, as an incentive to virtue, and made use of by none that I know besides himself.

The description of Ajax, which follows, and his refusing to speak to Ulysses, who had won the armour of Achilles from him, and by that means occasioned his death, is admired by every one that reads it. When Ulysses relates the sullenness of his deportment, and considers the greatness of the hero, he expresses himself with generous and noble sentiments. "Oh! that I had never gained a prize which cost the life of so brave a man as Ajax! who, for the beauty of his person, and greatness of his actions, was inferior to none but the divine Achilles." The same noble condescension, which never dwells but in truly great minds, and such as Homer would represent that of Ulysses to have been, discovers itself likewise in the speech which be made to the ghost of Ajax on that occasion. "Oh! Ajax," says he, "will you keep your resentments even after death? What destructions hath this fatal armour brought upon the Greeks, by robbing them of you, who were their bulwark and defence! Achilles is not more bitterly lamented among us than you. Impute not then your death to any one but Jupiter, who, out of his anger to the Greeks, took you away from among them: let me intreat you to approach me; restrain the fierceness of your wrath, and the greatness of your soul, and hear what I have to say to you." Ajax, without making a reply, turned his back upon him, and retired into a crowd of ghosts.

Ulysses, after all these visions, took a view of those impious wretches who lay in tortures for the crimes they had committed upon the earth, whom he describes under all the varieties of pain, as so many marks of divine vengeance, to deter others from following their example. He then tells us, that notwithstanding he had a great curiosity to see the heroes that lived in the ages before him, the

ghosts began to gather about him in such prodigious multitudes, and with such a confusion of voices, that his heart trembled as he saw himself amidst so great a scene of horrors. He adds, that he was afraid lest some hideous spectre should appear to him, that might terrify him to distraction; and therefore withdrew in time,

I question not but my reader will be pleased with this description of a future state, represented by such a noble and fruitful imagination, that had nothing to direct it besides the light of nature, and the opinions of a dark and ignorant age.

N° 153. SATURDAY, APRIL 1, 1710.

Bombalio, clangor, staidor, taratantara, murmur.

FARN. Rhet.

Rend with tremendous sounds your ears asunder,
With gun, drum, trumpet, blunderbuss, and thunder.
POPE.

From my own Apartment, March 31.

I HAVE heard of a very valuable picture, wherein all the painters of the age in which it was drawn, are represented sitting together in a circle, and joining in a consort of music. Each of them plays upon such a particular instrument as is the most suitable to his character, and expresses that style and manner of painting which is peculiar to him. The