Imágenes de páginas
PDF
EPUB
[blocks in formation]

180 to the End.

Of the Character of Achilles, and his bold Speeches to
Agamemnon

ibid.

[blocks in formation]

The Character of Therfites, and his Speech to fow more

[blocks in formation]

The Misfortunes of Priam and Hector affect us more than
thofe of the Greeks

ibid.

Of the Retreat of Ajax from Hector, with two beautiful
Similies on that occafion

ibid.

The ufe Homer makes of the Gods is often to the Difad-
vantage of his Heroes

ibid.

ibid.

Of the Painting of Homer---His Descriptions and Similies
numerous and beautiful

ibid.

Defcription of Jupiter

Defcription of the Deities engaged in the Combat

227 ibid.

228

Similies in the Defcription of the Grecian Army marching against the Trojans

The Iliad more Dramatic than any other Epic Poem 230 How Youth ought to read Homer

A Remark on Euftathius

Of the Odyssey

231

ibid.

The fate of the Grecian Heroes after the taking of Troy 232

The Design and Fable of the Odyffey

233

The Odyffey more useful than the Iliad

234

Ulyffes condemn'd for an Action which has been applauded in the Czar of Muscovy

235

Defcription of Calypfo's Grotto

236

Of the Episodes, many of which contain important Truths and ufeful Leffons, conveyed by way of Fiction and Allegory

239

Of the opening the Bags in which Eolus had confined the Winds---Circes turning the Companions of Ulysses into Swine---and the Sirens Song

The Characters finely drawn

Of the Sentiments, Diction and Numbers

Story of the Dog Argus

ibid.

240

241

242

Of Nausicaa's washing her nuptial Linen, and playing at

Ball with her Maidens

Ulyffes led by Pallas to the Phaacian Court

An useful Precept refpecting Behaviour

Defcription of the Palace and Gardens of Alcinous

243

248

ibid.

249

The artful Manner in which Ulysses addrefs'd the Queen 250

[blocks in formation]

Speech of Phemius the Bard, in behalf of himself, and in

honour of his Profeffion

The prudent Precaution of Penelope

265 266

The manner in which Ulyffes is discovered to his Father,

[blocks in formation]

Eneas in his rattling Armour preffing forward to engage
Turnus, compared to Mount Appenine fhaking the frozen

Foreft on its Sides

ibid.

286

ibid.

Their combat compared to the battle of two Bulls
The Indignant Speech of Numanus, who is flain by young
Afcanius
Virgil appears to most advantage in his Scenes of Distress,
many of which are amazingly pathetic

His account of the burning of Troy, and of the

Eneas received from Hector's Ghoit

The Death of Priam

289

warning
ibid.

Virgil has fuffer'd the Honour and Humanity of his Hero to

be fufpected in his Tranfactions with Dido, who claims

much of our Compaffion

Mercury introduced to fave the Hero's Reputation

Description of Mount Atlas

Eneas prepares his Fleet for failing

[blocks in formation]

The Paffion and Diftrefs of Dido on this Occafion, most pathetically represented

ibid. The manner in which She procured her own funeral Pile to be erected

304

A beautiful Defcription of the Stilnefs of the Night contrafted with the agonizing Pains of the unhappy Dido305 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 Business 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 exprefs'd

311

Pains taken to defend Virgil, where he needs no defence314 Of Nifus and Euryalus, Reflections on their Behaviour 316 Of Milton's Paradife Loft

Plan or Fable of the Poem

318 319

The most magnificent Ideas raised by Milton, are acpanied with Terror

326

The Defcription of Hell Gates, and the preparation for

ibid.

the Combat between Satan and Death

Sin unlocking the Gates of Hell

328

Description of the Lazar House

ibid.

In fome Places we have the Sublime without Terror

330

Defcription of the Angel Raphael

ibid.

Defcriptions of the Morning and Night

331

Of the Excellency of this Poem

332

Of the Objections made to the Fable of this Poem
Of the Digreffions in Paradife Loft

333

ibid.

Of the Characters

The Clofe of this Poem more perfect than either the or Eneid

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

Iliad

334

ibid.

335

336

ibid.

337

Defcription of his Standard

ibid.

Of the rifing of the Affembly of Infernal Spirits

ibid.

The Behaviour of the Spirits after Satan had roused

and harangued them

The fudden rife of the Pandemonium

338 ibid.

Of the Shapes Satan affumes to deceive Adam and Eve ibid.

Defcription of the Serpent

ibid.

The Difpofition and Remorfe of Satan

339 Sheds

Sheds Tears at the fight of those he had involved inMisery 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 Juftice, tem-
pered with Love and Mercy

341

ibid.

Defcription of his Works of Creation

342

Terrible to his Enemies only

ibid.

344

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
Sublimity of Sentiments, Milton's chief Excellence ibid.
The Paffion of Love in a state of Purity, beautifully re-
prefented in the Characters of Adam and Eve.--See their
Sentiments under the Chapters of the Beauty of Thought
and Style of Poetry

Some Defects pointed out

ibid.

345

The Language raised and supported with wonderful Art 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 Difpute on that Subject stated

348

Of the Difficulty of writing a modern Epic Poem

349

Of Taffo's Jerufalem delivered

ibid.

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

[blocks in formation]

The Images he gives us of Armida, and her Behaviour
while Rinaldo hews down the Myrtle, is great

[blocks in formation]

That Profe ought to be confider'd in oppofition to Verse,
and not in opposition 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

« AnteriorContinuar »