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ShedsTears at the fight ofthofe he had involved in Mifery ib.

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Dićtion ibid.

The Method he took to enrich his Style and render his

Numbers various and harmonious 346

Some Defećts in his Diction pointed out 34-7

Of the Spirits contraćting their Stature, fo as to find room
in the Pandæmonium ibid:
The Dispute on that Subjećt stated 348
Of the Difficulty of writing a modern Epic Poem 349
Of Taffo's ferusalem delivered - ibid.
The Portion of History on which this Poem is founded ib.
Of the Author and his Poem 352
Of the Charaćters ibid.
Of the Sentiments 353
Instance of a crude Conception ibid.

The Images he gives us of Armida, and her Behaviour

while Rinaldo hews down the Myrtle, is great ibid.

Of the Language - * 3 54-

Some Abfurdities in the Characters and Condućt of the

Poem - ibid.

The amorous Song fung by Armida's Parrot 355
Of FE N E Lo N’s Adventures of Telemachus • 3 57
This Work poetical, tho’ written in Profe ibid.
That Profe ought to be consider'd in opposition to Verse,
and not in oppofition to Poetry - ibid.

That Poetry does not wholly confist in the Number and
Cadence of Syllables, but in a spirited Fiếtion, bold
and noble Figures, and a Variety of beautiful and just
Images ibid.
In the English Language the Harmony and Beauty of Verfe

à and Profe depend on nearly the fame Principles 35° –


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If there is no Poetry without Verfe, 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 Defects and Beauties pointed out 3 59
The Scheme of Minerva’s affuming the form of Mentor,
taken from the History of Tobias ibid.
Of Woltaire's Henriade ibid.

The Portion of History on which this Poem is foundedibid.
The Characters agreeably diversified and well supported 363
The Thoughts, Style and Numbers elegant and graceful,

and often noble and fublime ibid.
Some Defećts in the Fable ibid.
The Machinery extravagant ibid.
The Hero's changing his Religion, absurd **, 364-
His other Works admirable ibid.
Of Mr. Glover's Leonidas 365
The Portion of History on which this Poem is founded ib.

The Poem excellently calculated to inspire the Reader with
the Love of Liberty, public Virtue, and Patriotifin 369
Tho' theFable is takén 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 lessen'd by their Ma-
chinery - ibid.
No judging which was the greatest Hero, Heếtor or Achilles,
without estimating the Aid each received from theDeities
The Abfurdity not removed, by giving those Paffages an al-
legorical túrn, for mamy of them will not admit of

either moral or physical Explication 37 o
The Beauty and Propriety of his Fictions, Incidents, and
Episodes - - ibid.

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the Oracle ibid.
His Reply to the Persian Ambassador - 373
The affecting manner in which he takes Leave of hisWifé
and Children - ibid.
Of the Character of Xerxes 375
The Poet has more exalted his Heroes the Greeks, by

making fome of the Persian Leaders valiant and amiable.

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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
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

The Numbers are in some places diffonant, and inharmo-

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

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-

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

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

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

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.

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.

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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Of Creatures wanting voice.-- - ||

–––––both/tood Both turn'd, and under open sky ador’d . " The God that made both /ky, air, earth and heaven

Which they beheld, the moon's resplendent globe, . | And starry pole :–Thou also mad'st the night, Maker omnipotent, and thou the day /* { Poetry in its infant state was the language of devo- * tion and love. It was the voice and exprefion of the |

heart of man when ravished and transported with a view of the numberless bleffings that perpetually flowed from God the fountain of all goodness. - . |

–all things smil'd | With Fragrance, and with Joy their hearts d'erfow'd

Enraptured thus with the love of God, and filled | ||

with an awful idea of his power, glory, and goodness; the foul, incapable of finding words in com | mon language fuitable to its lofty conceptions, and t|

difdaining every thing low and vulgar, was obliged to M invent a language intirely new. Tropes and figures

were called in to express its fentiments, and the dićtion was dignified and embellished with meta- # phors, beautiful descriptions, lively images, similies, ': and whatever elfe could help to express, with force * and grandeur, its paffion and furprife : difdaining | common thoughts and trivial expressions, it explores all Nature and aspires at all that is fublime and beau- | | |

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