[18] See appendix, containing definitions and explanation of terms.
[22] Chap. 31. of his treatise on the sublime.
[27] Reflexions sur la Poesie, _&c._ vol. 1. sect. 24.
[30] I have often regretted, that a factious spirit of opposition to the reigning family made it necessary in public worship to distinguish the King by his proper name. One will scarce imagine, who has not made the trial, how much better it sounds to pray for our Sovereign Lord the King, without any addition.
[34] Merry Wives of Windsor, act 3. sc. 15.
[37] Montaigne, reflecting upon the then present modes, observes, that there never was at any other time so abject and servile prostitution of words in the addresses made by people of fashion to one another; the humblest tenders of life and soul, no professions under that of devotion and adoration; the writer constantly declaring himself a vassal, nay a slave: so that when any more serious occasion of friendship or gratitude requires more genuine professions, words are wanting to express them.
[39] One can scarce avoid smiling at the blindness of a certain critic, who, with an air of self-sufficiency, condemns this expression as low and vulgar. A French poet, says he, would express the same thought in a more sublime manner: “Mais tout dort, et l’armée, et les vents, et Neptune.” And he adds, “The English poet may please at London, but the French every where else.”
[45] The dialogue in a dramatic composition separates it so clearly from other compositions, that no writer has thought it necessary to search for any other distinguishing mark. But much useless labour has been bestowed, to distinguish an epic poem by some such mark. Bossu defines this poem to be, “A composition in verse, intended to form the manners by instructions disguised under the allegories of an important action,” which will exclude every epic poem founded upon real facts, and perhaps include several of Esop’s fables. Voltaire reckons verse so essential, as for that single reason to exclude the adventures of Telemachus. See his _Essay upon Epic Poetry_. Others, affected with substance more than with ornament, hesitate not to pronounce that poem to be epic. It is not a little diverting, to see so many shallow critics hunting for what is not to be found. They always take for granted, without the least foundation, that there must be some precise criterion to distinguish epic poetry from every other species of writing. Literary compositions run into each other, precisely like colours: in their strong tints they are easily distinguished; but are susceptible of so much variety, and take on so many different forms, that we never can say where one species ends and another begins. As to the general taste, there is little reason to doubt, that a work where heroic actions are related in an elevated style, will, without further requisite, be deemed an epic poem.