Of the Episodes
Of the Action, the Moral, and the artful and interefting
manner in which it is deliver'd
ibid.
Of his celestial Machinery
277
Of the Characters, which are juftly conceived and well fustained
278
ibid.
Of the Hero, Turnus, Dido, Latinus, and Amate
The Character of Lavinia, her Blush beautifully drawn 279
Of Evander----His noble Simplicity of Manners, his Piety,
Generofity, and Friendship, contrafted with the impious,
abandon'd, and cruel Disposition of Mezentius ibid.
The Characters of Anchifes, Sinon, Drances, Camilla, Nifus
ibid.
and Euryalus
Of the Sentiments which are confiftent with his Characters,
and admirably adapted to the Subjects
Of the Language and Numbers
Of his Defcriptions and Similies
281
His Images are generally fuch as would have fine effect in
Painting
282
ibid.
Comparison between Homer and Virgil
Virgil's Defcription of Alecto, fublime and spirited
Defcription of the Storm raised by Eolus
The storm appeafed by Neptune
The deftruction of Troy compar'd to the fall of a Mountain
Ash
285
Eneas in his rattling Armour preffing forward to engage
Turnus, compared to Mount Appenine fhaking the frozen
Foreft on its Sides
ibid.
286
Their combat compared to the battle of two Bulls
The Indignant Speech of Numanus, who is flain by young
Afcanius
ibid.
Virgil appears to most advantage in his Scenes of Distress,
many of which are amazingly pathetic
289
His account of the burning of Troy, and of the warning
Eneas received from Hector's Ghoit
ibid.
The Paffion and Diftrefs of Dido on this Occafion, moft
pathetically reprefented
ibid.
The manner in which She procured her own funeral Pile
to be erected
304
A beautiful Defcription of the Stilnefs of the Night con-
trafted with the agonizing Pains of the unhappy Dido365
The Propriety of Virgil's Defcriptions, which are not thrown
in to fhew his Power in Painting; but which tend to
heighten fome Paffion, and forward the Bufinefs of the
Poem
ibid.
The affecting Soliloquy of Dido at Midnight
305
The extreme Agonies, Defpair and Madness of Dido on
feeing from a Watch-tower at break of Day the Trojan
Fleet under fail
307
310
The advantage which Poetry has over History
The diftrefs'd Situation of Dido's Sifter pathetically ex-
prefs'd
311
Pains taken to defend Virgil, where he needs no defence 314
Of Nifus and Euryalus, Reflections on their Behaviour 316
Of Milton's Paradife Loft
318
Plan or Fable of the Poem
The molt magnificent Ideas raised by Milton, are
panied with Terror
326
The Defcription of Hell Gates, and the preparation for
the Combat between Satan and Death
ibid.
Sin unlocking the Gates of Hell
Defcription of the Lazar House
In fome Places we have the Sublime without Terror
Defcription of the Angel Raphael
Defcriptions of the Morning and Night
Of the Excellency of this Poem
Of the Objections made to the Fable of this Poem
Of the Digreffions in Paradise Loft
The Clofe of this Poem more perfect than either the
or Eneid
Of the Characters
Of his Defcription of the Almighty and of the Angels ibid.
Defcription of the Prowess and Perfon of Satan
His Situation after he was expelled Heaven
Defcription of his Stature, his Shield and Spear
Of his Voice
Defcription of his Standard
ibid.
Of the rifing of the Affembly of Infernal Spirits
The Behaviour of the Spirits after Satan had roused
and harangued them
The fudden rife of the Pandemonium
Of the Shapes Satan affumes to deceive Adam and Eve ibid.
Defcription of the Serpent
ibid.
The Difpofition and Remorfe of Satan.
Sheds Tears at the fight of those he had involved inMifery ib.
His Reflections on the fight of Adam and Eve ibid.
His addrefs to the Sun, feafon'd with Remorfe and Self-
Accufation
340
The Character of the Meffiah, his Power and Justice, tem-
pered with Love and Mercy
Terrible to his Enemies only
Defcription of his Works of Creation
342
His Afcent into Heaven after the World was created 343
The Allegory of Sin and Death extremely poetical, but
not much to the advantage of his work
ibid.
344
The Sentiments admirably adapted to the Characters
Sublimity of Sentiments, Milton's chief Excellence ibid.
The Paffion of Love in a ftate of Purity, beautifully re-
presented in the Characters of Adam and Eve.--See their
Sentiments under the Chapters of the Beauty of Thought
and Style of Poetry
ibid.
345
Some Defects pointed out
The Language raised and fupported with wonderful Art ibid.
The Difficulties he had to encounter with refpect to the
Diction
ibid.
The Method he took to enrich his Style and
Numbers various and harmonious
347
Some Defects in his Diction pointed out
Of the Spirits contracting their Stature, fo as to find room
in the Pandemonium
ibid:
348
349
ibid.
The Difpute on that Subject stated
Of the Difficulty of writing a modern Epic Poem
Of Taffo's Jerufalem delivered
The amorous Song fung by Armida's Parrot
Of FENELON's Adventures of Telemachus
The Portion of History on which this Poem is founded ib.
Of the Author and his Poem
Of the Characters
Of the Sentiments
Inftance of a crude Conception
The Images he gives us of Armida, and her Behaviour
while Rinaldo hews down the Myrtle, is great
Of the Language
ibid.
Some Abfurdities in the Characters and Conduct of the
354
Poem
ibid.
This Work poetical, tho' written in Profe
That Profe ought to be confider'd in oppofition to Verfe,
and not in oppofition to Poetry
ibid.
That Poetry does not wholly confift in the Number and
Cadence of Syllables, but in a fpirited Fiction, bold
and noble Figures, and a Variety of beautiful and just
Images
ibid.
In the English Language the Harmony and Beauty of Verse
and Profe depend on nearly the fame Principles
358
If there is no Poetry without Verfe, there can be none in
the English Version of the Pfalms of David, the Book of
Job, the Song of Solomon, or in any part of the Old
Teftament
ibid.
The beautiful Simplicity of Fenelon's Style has, perhaps,
degraded him in the eyes of the injudicious, tho' he
is admir'd for it by the best Judges
Some Defects and Beauties pointed out
ibid.
359
The Scheme of Minerva's affuming the form of Mentor,
taken from the Hiftory of Tobias
ibid.
ibid.
Of Voltaire's Henriade
The Portion of History on which this Poem is founded ibid.
The Characters agreeably diverfified and well fupported 363
The Thoughts, Style and Numbers elegant and graceful,
and often noble and fublime
Some Defects in the Fable
The Machinery extravagant
The Hero's changing his Religion, abfurd
His other Works admirable
Of Mr. Glover's Leonidas
365
The Portion of History on which this Poem is founded ib.
The Poem excellently calculated to infpire the Reader with
the Love of Liberty, public Virtue, and Patriotifm 369
Tho' theFable is taken from an ancient GrecianStory which
would have admitted of coeleftial Machinery, the Author
has prudently avoided that kind of Ornament ibid.
The Heroes of Homer and Virgil leffen'd by their Ma-
chinery
ibid.
No judging which was the greateft Hero, Hector or Achilles,
without eftimating the Aid each received from theDeities
ibid.
The Abfurdity not removed, by giving thofe Paffages an al-
legorical turn, for many of them will not admit of
either moral or phyfical Explication
370
The Beauty and Propriety of his Fictions, Incidents, and
Epifodes
Of the Fable
ibid.
371
The clofe of this Poem, as well as that of the Iliad and
Eneid, feemingly deficient
ibid.
The Characters well fustained, and some of them finely
contrafted
Of the Character of Leonidas
His Addrefs to the Spartans, on receiving the Anfwer from
ibid.
372
the Oracle
ibid.
373
His Reply to the Perfian Ambaffador
The affecting manner in which he takes Leave of his Wife
and Children
ibid.
Of the Character of Xerxes
375
The Poet has more exalted his Heroes the Greeks, by
making fome of the Perfian Leaders valiant and amiable
Of the Character of Teribazus
Leffen'd by the manner of his Death
'The Adventure of Ariane to the Grecian Camp
Her Conference with Leonidas
378
Lamentation over the Body of Teribazus, and her Death 380
The Sentiments of the Poem are confiftent with the Charac-
ters, always proper, and often noble and fublime
381
The Language is for the most part elegant, expreffive, and
agreeably elevated
The Numbers are in fome Places diffonant, and inharmo-
nious
ibid.
Reflections on Shakespeare
His Volumes a Repofitory of true Wit, and of the fublimest
Beauties in Compofition
ibid.
His Numbers as harmonious as thofe of any modern Poet ibid.
His Diction fo elegant and expreffive, that he seems to
have been confidered as a Standard, and to have fixed the
volatile Fluctuations of a living Language, to which the
frequent Representation of his Plays has not a little con-
tributed
ibid.
The Power he has over the Mind is not wholly owing to the
Force of his Wit and Fancy; but to his having in greater
Proportion than other Men that Power of Feeling or Sen-
fibility refulting from Nature and accurate Obfervation,
which we call good Taste
ibid.
As he confulted Nature more than Books, his Thoughts are,
for the most part, new and noble, whereas other Drama-
tic Poets of his Time, by having ancient Authors too
much in View, loft the Spirit of Originality
ibid.
382
An Apology for the Defects in Shakespeare
The Character of a Book not to be estimated by the num-
ber of its Defects, but of its Beauties
ibid.
Reading compared to Converfation----He who frequents
Company to obferve only abfurd and vicious Characters
will obtain little Benefit; but he who obferves and imi-
tates the Polite, may become a Fine Gentleman ibid.
ERRATA TO VOL. I.
1. 12.
for
Page 41, Line 7. dele We come now to. P. 49,
that read which. P. 53, 1. 39. for Poctry r. Poetry. P. 84,
in the Note, for Tibia r. Tibi. P. 85, l. 15. for where r. were,
P. 168, l. 10. dele in. P. 174, 1. 12. for affimulated read
affembled. P. 175, l. 13. for ever r. over.
Ibid. Line 37,
for white Afb, read wild Ash. P. 189, 1. 36. for Hair read
Hare. P. 205, 1. 10. for Paise read Praise. P. 214, 1. 19.
dele vinner. P. 216, 1. 21. for male read meal. P. 250,
line the laft, for barborous read barbarous.
ERRATA TO OL. II.
Page 19, Line 2. for lays read lies. P. 96, 1. 2, of the Note,
for Operation read Oppreffion. P. 204, 1. 16. for Wreck read
teak. P. 341, l. 14. for Obhorance read Abhorrence.
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