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Sheds Tears at the fight of those he had involved in Mifery ib.

His Reflections on the light of Adam and Eve ibid.

His address to the Sun, Teason'd with Remorse and Self-

Accusation

340

The Character of the Mefliah, his Power and Justice, tem-

pered with Love and Mercy

Terrible to his Enemies only

Description 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

The Sentiments admirably adapted to the Characters -344

Sublimity of Sentiments, Milton's chief Excellence ibid.

The Passion of Love in a state 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.

Some Defects pointed out

The Language raised and supported with wonderfulArt ibid.

The Difficulties he had to encounter with respect to the

Diction

ibid.

The Method he took to enrich his Style and render his
Numbers various and harmonious

346
Some Defects in his Diction pointed out

347

Of the Spirits contracting their Stature, so as to find room

in the Pandæmonium

ibid:

The Dispute on that Subject stated

348
Of the Difficulty of writing a modern Epic Poem 349
Of Taffo's Jerusalem delivered

ibid.

The Portion of History on which this Poem is founded ib.

Of the Author and his Poem

Of the Characters

Of the Sentiments
Instance of a crude Conception
The Images he gives us of Armida, and her Behaviour

while Rinaldo hews down the Myrtle, is great ibid.

Of the Language

354

Some Absurdities in the Characters and Conduct of the

Poem

ibid.

The amorous Song fung by Armida's Parrot
Of Fenelon's Adventures of Telemachus -

357
This Work poetical, tho' written in Prose . ibid.
That Prose ought to be consider'd in opposition to Verse,

and not in oppofition to Poetry
That Poetry does not wholly confift in the Number and

Cadence of Syllables, but in a spirited Fiction, bold
and noble Figures, and a variety of beautiful and just

Images
In the English Language the Harmony and Beauty of Verse

and Profe donend on nearly the fame Drinninlan

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ibid.

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If there is no Poetry without Verse, there can be none in

the English Version of the Psalms of David, the Book of

Job, the Song of Solomon, or in any part of the Old

Testament

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

. ibid,

Some Defeets and Beauties pointed out

359

The Scheme of Minerva's assuming the form of Mentor,

taken from the History of Tobias

Of Voltaire's Henriade

The Portion of History on which this Poem is founded ibid.

The Characters agreeably diversified and well supported 363

The Thoughts, Style and Numbers elegant and graceful,

and often noble and sublime

ibid.

Some Defects in the Fable

ibid.

The Machinery extravagant

ibid.

The Hero's changing his Religion, absurd

His other Works admirable

Of Mr. Glover's Leonidas

365

The Portion of Hisory on which this Poem is founded ib.

The Poem excellently calculated to inspire the Reader with

the Love of Liberty, public Virtue, and Patriotism 369

Tho' theFable is taken from an ancient GrecianStory which

would have admitted of coelestial Machinery, the Author

has prudently avoided that kind of Ornament ibid.

The Heroes of Homer and Virgil lefsen'd by their Ma-

chinery

ibid.

No judging which was the greateit Hero, Heftor or Achiiles,

without estimating the Aid each received from the Deities

The Abfurdity not removed, by giving those Passages an al-

legorical turn, for many of them will not admit of

either moral or physical Explication

370

The Beauty and Propriety of his Fictions, Incidents, and

Episodes

ibid.

Of the Fable

371

The close of this poem, as well as that of the Iliad and

Æneid, seemingly deficient

ibid.

The Characters well suitained, and some of them finely

contrasted

Of the Character of Leonidas

His Address to the Spartans, on receiving the Answer from

the Oracle

ibid.

His Reply to the Persian Ambassador

373

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

makino fome of the Perhian Leaders valiant and amiable

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Of the Character of Teribazus

ibid.
Leffen'd by the manner of his Death

377
The Adventure of Ariane to the Grecian Camp

ibid.
Her Conference with Leonidas
Lamentation over the Body of Teribazus, and her Death 380
The Sentiments of the Poem are consistent with the Charac-

ters, always proper, and often noble and sublime 381
The Language is for the most part elegant, expressive, and
agreeably elevated

ibid,
The Numbers are in some places diffonant, and inharmo-

ibid,
Reflections on Shakespeare
His Volumes a Repository of true Wit, and of the sublimest
Beauties in Composition

ibid.
His Numbers as harmonious as those of any modern Poet ibid.
His Diction fo elegant and expressive, that he seems to

have been considered 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-
sibility resulting from Nature and accurate Observation,
which we call good Taste

ibid.
As he consulted 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, lost the Spirit of Originality

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 Conversation----He who frequents

Company to observe only absurd and vicious Characters
will obtain little Benefit ; but he who observes and imi-
tates the Polite, may becoine a Fine Gentleman ibid.

ERRATA TO VOL. I.
Page 41, Line 7. dele We come now to. P. 49, 1. 12. for
tbat read which. P. 53, 1. 39. for Poctry r. Poetry. P. 84,
in the Note, for Tibia r. Tibi. P. 85, 1. 15. for where r. were,
P. 168, 1. 10. dele in. P. 174, 1. 12. for asimulated read
assembled. P. 175, 1. 13. for ever r. over. Ibid. Line 37,
for white Alb, read wild A. P. 189, 1. 36. for Hair read
Hare. P. 205, 1. 1o. for Paise read Praise. P. 214, 1. 19.
dele vinner. P. 216, l. 21. for male read meal. P. 250,
line the last, for barborous read barbarous.

- ERRATA TO VOL. II.
Page 19, Line 2. for lays read lies. P. 96,1. 2, of the Note,
for Operation read Oppression. P. 204, 1. 16. for Wreck read

zak. P. 341, d. 14. for Obhorance read Abborrence.

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