صور الصفحة
PDF
النشر الإلكتروني

201

202

Of Prologues and Epilogues

175

PRECEPTS for the Epic or HEROIC POEMS with

occasional Remarks

180 to the End.

What constitutes an Epic Poem

183

Stricture on Criticifm

ibid.

Of Homer

184

Of the Iliad. Its Design and Fable

187

Some defects in this Poem hinted at

189

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

ibid.

A Picture of the Simplicity and Temperance of ancient

Times

190

Speeches between Achilles, Ulysses,Phenix and Ajax 190 to 201

Speeches between Hector and Achilles

A Simile on the occasion, which is defective

Speeches between Hector and Ajax

203

The Character of Agamemnon

205

Description of that Chief

ibid.

His cruel Speech to Menelaus

206

Accused of Cowardice by Ulyses

ibid.
Insolent Speech of Diomed to him

207

------Charaềter of Diomed

208

Diomed's Behaviour approved by Neftor

ibid.

Characters of Ulyljes and Neftor

209

The Chai acter of Therftes, and his Speech to low more
Dissertion in the Army

ibid,
The Speech of Ulsles in answer to him
Of Ulyles, Menelaus, and Helen
Helen's Lamentation over Hector's Corse

ibid.
The Misfortunes of Priam and Hector affect us more than
those of the Greeks

ibid.

Of Homer's partiality to the Greeks

213

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

ibid.
The Character of Ajax

214
The use Homer inakes of the Gods is often to the Disad-

ibid.
vantage of his Heroes

Hector takes Leave of Andromache and his Son, and their

affecting Speeches on that occasion

215

Of the pathetic Interview between Priam and Achilles, with

Reflections on Eloquence, and the force of a mournful

desponding Attitude

218

Speeches between Priam and Achilles

213

Homer's knowledge of Mankind, and Power over the hu-

man Heart

225

Of some of the Defects in the Iliad, with a few Words

by way of Defence

226

Of the Sentiments, Diction, and Numbers

ibid.
Of the Painting of Homer---His Descriptions and Similies

ibid.
numerous and beautiful

2!I

2 1 2

of the Odyley

Description of Jupiter

227 Description of the Deities engaged in the Combat ibid. Similies in the

Description of the Grecian Army marching against the Trojans

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

231 A Remark on Eustathius

ibid. The fate of the Grecian Heroes after the taking of Troy 232 The Design and Fable of the Odyssey

233 The Odyssey more useful than the Iliad

234 Ulyles condemn’d for an Action which has been applauded in the Czar of Muscovy

235 Description of Calypso's Grotto

236 Of the Episodes, many of which contain important Truths

and useful Lessons, conveyed by way of Fiction and Allegory

239 Of the opening the Bags in which Æolus had confined

the Winds---Circes turning the Companions of Ulyles into Swine---and the Sirens Song

ibid. The Characters finely drawn

240 Of the Sentiments, Diction and Numbers

241 Story of the Dog Argus

242 Of Nausicaa's washing her nuptial Linen, and playing at · Ball with her Maidens

243 Ulyses led by Pallas to the Phæacian Court

248 An useful Precept respeding Behaviour

ibid. Description of the Palace and Gardens of Alcinous

249 The artful Manner in which Ulydes address’d the Queen 2 50 His Reception at Court

ibid. Contends with the Phæacians at their Games

253 Character of Demodocus, a blind Bard

254 The Effect his Song had on Ulyses

255 Ulysses relates his Adventures to the Phæacians

257 Account of Polyphemus and his Cave

259 Descent of Ulysses to the infernal Shades indefensible

260 Dr. Warburton's Opinion of this Passage

261 Bad effect of it as to the Poem

262 Arguments which the Critics have introduced to palliate

some of the Escapes in Homer, absurd Ulyses discovered by Euryclea

ibid. Speech of Phemius the Bard, in behalf of himself, and in honour of his Profession

265 The prudent Precaution of Penelope

266 The manner in which Ulyles is discovered to his Father, poetical, but not prudent

267 The best Method of making Criticism instructive and agreeable to

young
Minds

271 Of Virgil's Æneid

272 The Design of the Poem

ibid. 289

263 276

278

281

The Address of the Poet

ibid.

Character of the Author, and his intimacy with Augudus 274

He decides an important Debate in Politics

275

Of the great Honours paid to Virgil by the Roman People ibid.

The Fable of the Poem

ibid.

Of the Episodes

Of the Action, the Moral, and the artful and interesting

manner in which it is deliver'd

ibid.

Of his celestial Machinery,

277

Of the Characters, which are justly conceived and well sustained

Of the Hero, Turnus, Dido, Latinus, and Amate ibid.

The Character of Lavinia, her Blush beautifully drawn 279

Of Evander----His

noble Simplicity of Manners, his Piety,

Generosity, and Friendship, contrasted with the impious,

abandon'd, and cruel Disposition of Mezentius

ibid.

The Characters of Anchises, Sinon, Drances, Camilla. Nisus

and Euryalus

ibid.

Of the Sentiments which are consistent with his Characters,

and admirably adapted to the Subjects

280

Of the Language and Numbers

ibid.

Of his Descriptions and Similies

His Images are generally such as would have fine effect in

Painting

282

Comparison between Homer and Virgil

ibid.

Virgil's Description of Aleo, fublime and spirited

283

Description of the Storm raised by Æolus

284

The fform appeased by Neptune

ibid.

The destruction of Troy compar'd to the fall of a Mountain

Anh

285

Æneas in his rattling Armour pressing forward to engage

Turnus, compared to Mount Appenine shaking the frozen

Forest on its Sides

ibid.

Their combat compared to the battle of two Bulls

The Indignant Speech of Numanus, who is Nain by young

Afcanius

ibid.

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 warning

Æneas received from Hector's Ghoit

ibid.

The Death of Priam

291

Æneas bearing his aged Father and Infant Son from the

flames

293

The loss of Creufa

295

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

be suspected in his Transactions with Dido, who claims

much of our Compassion

297

Mercury introduced to save the Hero's Reputation 298
Description of Mount Atlas

299
Æneas

ibid.
his Fleet for failing
prepares

286

ac.

The Passion and Distress of Dido on this Occasion, most pathetically represented

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

304 A beautiful Description of the Stilness of the Night con

trasted with the agonizing Pains of the unhappy Dido 305 The Propriety of Virgil's Descriptions, which are not thrown

in to Thew his Power in Painting ; but which tend to heighten some Passion, and forward the Business of the Poem

ibid. The affecting Soliloquy of Dido at Midnight 305

The extreme Agonies, Despair and Madness of Dido on
seeing from a Watch-tower at break of Day the Trojan
Fleet
under fail

307 The advantage which Poetry has over History 310 The distressd Situation of Dido's Sister pathetically express’d

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

318 Plan or Fable of the Poem

319 The most magnificent Ideas raised by Milton, are panied with Terror

326 The Description of Hell Gates, and the preparation for the Combat between Satan and Death

ibid. Sin unlocking the Gates of Hell

328 Description of the Lazar House

ibid. In some places we have the Sublime without Terror

330 Description of the Angel Raphael

ibid. Descriptions of the Morning and Night

331 Of the Excellency of this Poem

332 Of the Objections made to the Fable of this Poem 333 Of the Digressions in Paradise Lost

ibid. The Close of this Poem more perfect than either the Iliad or Æneid

334 Of the Characters

ibid. Of his Description of the Almighty and of the Angels ibid. Description of the Prowess and Person of Satan 335 His Situation after he was expelled Heaven

336 Description of his Stature, his Shield and Spear

ibid. Of his Voice

337 Description of his Standard

ibid. of the rising of the Assembly of Infernal Spirits ibid. The Behaviour of the Spirits after Satan had roused and harangued them

338 The sudden rise of the Pandemonium

ibid. Of the Shapes Satan'assumes to deceive Adam and Eve ibid. Description of the Serpent

ibid, The Disposition and Remorse of Satan

339 Sheds

346

Sheds Tears at the fight of those he had involved in Misery ib.
His Reflections on the light of Adam and Eve

ibid.
His address to the Sun, season'd with Remorse and Self-
Accusation

340
The Character of the Messiah, his Power and Justice, tem-
pered with Love and Mercy

341
Terrible to his Enemies only

ibid.
Description of his Works of Creation

342
His Ascent 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.
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
Šentiments under the Chapters of the Beauty of Thought
and Siyle of Poetry

ibid.
Some Defects pointed out

345
The Language raised and supported with wonderfulArt ibid.
The Difficulties he had to encounter with respect to the
Di&tion

ibid.
The Method he took to enrich his Style and render his

Numbers various and harmonious
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

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

ibid.
The Portion of History on which this Poem is founded ib.
Of the Author and his Poem

352
Of the Characters

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

354
Some Absurdities in the Characters and Conduct of the
Poem

ibid.
The amorous Song sung by Armida's Parrot

355
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 Terse,
and not in opposition to Poetry

ibid.
That Poetry does not 'wholly consist in the Number and

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

ibid,
In the English Language the Harmony and Beauty of Verle

and Profe depend on nearly the same Principles

348

358

« السابقةمتابعة »