l
War, he declaims upon the Occasion, and shews how much happier it would
be for Man, if he did not feel his Evil Fortune before it comes to pass;
and suffer not only by its real Weight, but by the Apprehension of it.
Milton's Complaint [for [12]] his Blindness, his Panegyrick on Marriage,
his Reflections on Adam and Eves going naked, of the Angels eating, and
several other Passages in his Poem, are liable to the same Exception,
tho I must confess there is so great a Beauty in these very
Digressions, that I would not wish them out of his Poem.

I have, in a former Paper, spoken of the Characters of Milton's Paradise
Lost, and declared my Opinion, as to the Allegorical Persons who are
introduced in it.

If we look into the Sentiments, I think they are sometimes defective
under the following Heads: First, as there are several of them too much
pointed, and some that degenerate even into Punns. Of this last kind I
am afraid is that in the First Book, where speaking of the Pigmies, he
calls them,

--The small Infantry
Warrdon by Cranes--

Another Blemish [that [13]] appears in some of his Thoughts, is his
frequent Allusion to Heathen Fables, which are not certainly of a Piece
with the Divine Subject, of which he treats. I do not find fault with
these Allusions, where the Poet himself represents them as fabulous, as
he does in some Places, but where he mentions them as Truths and Matters
of Fact. The Limits of my Paper will not give me leave to be particular
in Instances of this kind; the Reader will easily remark them in his
Perusal of the Poem.

A third fault in his Sentiments, is an unnecessary Ostentation of
Learning, which likewise occurs very frequently. It is certain that both
Homer and Virgil were Masters of all the Learning of their Times, but it
shews it self in their Works after an indirect and concealed manner.
Milton seems ambitious of letting us know, by his Excursions on
Free-Will and Predestination, and his many Glances upon History,
Astronomy, Geography, and the like, as well as by the Terms and Phrases
he sometimes makes use of, that he was acquainted with the whole Circle
of Arts and Sciences.

If, in the last place, we consider the Language of this great Poet, we
must allow what I have hinted in a former Paper, that it is often too
much laboured, and sometimes obscured by old Words, Transpositions, and
Foreign Idioms. Senecas Objection to the Style of a great Author, Riget
ejus oratio, nihil in