where he is not fired by the Iliad.

If we observe his descriptions, images, and similes, we shall find the

invention still predominant. To what else can we ascribe that vast

comprehension of images of every sort, where we see each circumstance of

art, and individual of nature, summoned together by the extent and

fecundity of his imagination to which all things, in their various views

presented themselves in an instant, and had their impressions taken off to

perfection at a heat? Nay, he not only gives us the full prospects of

things, but several unexpected peculiarities and side views, unobserved by

any painter but Homer. Nothing is so surprising as the descriptions of his

battles, which take up no less than half the Iliad, and are supplied with

so vast a variety of incidents, that no one bears a likeness to another;

such different kinds of deaths, that no two heroes are wounded in the same

manner, and such a profusion of noble ideas, that every battle rises above

the last in greatness, horror, and confusion. It is certain there is not

near that number of images and descriptions in any epic poet, though every

one has assisted himself with a great quantity out of him; and it is

evident of Virgil especially, that he has scarce any comparisons which are

not drawn from his master.

If we descend from hence to the expression, we see the bright imagination

of Homer shining out in the most enlivened forms of it. We acknowledge him

the father of poetical diction; the first who taught that "language of the

gods" to men. His expression is like the colouring of some great masters,

which discovers itself to be laid on boldly, and executed with rapidity.

The Iliad of Homer