nse. We hope those Persons of Sense and Quality who have done
us the Honour to subscribe, will not be ashamed of their Patronage
towards us, and not receive Impressions that patronising us is being
for or against the Opera, but truly promoting their own Diversions in
a more just and elegant Manner than has been hitherto performed. _We
are, SIR,
Your most humble Servants,_
Thomas Clayton.
Nicolino Haym.
Charles Dieupart. [1]

_There will be no Performances in_ York-buildings _till after that
of the Subscription._

T.

[Footnote 1: See No. 258.]

* * * * *

No. 279. Saturday, January 19, 1712. Addison.

Reddere personae scit convenientia cuique.

Hor.

We have already taken a general Survey of the Fable and Characters in
_Milton's Paradise Lost_. The Parts which remain to be considered,
according to _Aristotle's_ Method, are the _Sentiments_ and the
_Language_. [1]

Before I enter upon the first of these, I must advertise my Reader, that
it is my Design as soon as I have finished my general Reflections on
these four several Heads, to give particular Instances out of the Poem
which is now before us of Beauties and Imperfections which may be
observed under each of them, as also of such other Particulars as may
not properly fall under any of them. This I thought fit to premise, that
the Reader may not judge too hastily of this Piece of Criticism, or look
upon it as Imperfect, before he has seen the whole Extent of it.

The Sentiments in an Epic Poem are the Thoughts and Behaviour which the
Author ascribes to the Persons whom he introduces, and are _just_ when
they are conformable to the Characters of the several Persons. The
Sentiments have likewise a relation to _Things_ as well as _Persons_,
and are then perfect when they are such as are adapted to the Subject.
If in either of these Cases the Poet [endeavours to argue or explain, to
magnify or diminish, to raise] [2] Love or Hatred, Pity or Terror, or
any other Passion, we ought to consider whether the Sentiments he makes
use of are proper for [those [3]] Ends. _Homer_ is censured by the
Criticks for his Defect as to this Particular in several parts of the
_Iliad_ and _Odyssey_, tho at the same time those, who have treated
this great Poet with Candour, have attributed this Defect to the Times
in which he lived. [4] It was the Fault of the Age, and no