recourse to these Foreign Assistances. Our
Language sunk under him, and was unequal to that Greatness of Soul,
which furnished him with such glorious Conceptions.

A second Fault in his Language is, that he often affects a kind of
Jingle in his Words, as in the following Passages, and many others:

And brought into the World a World of Woe.

--Begirt th' Almighty throne
Beseeching or besieging--

This tempted our attempt--

At one slight bound high overleapt all bound.

I know there are Figures for this kind of Speech, that some of the
greatest Ancients have been guilty of it, and that Aristotle himself has
given it a place in his Rhetorick among the Beauties of that Art. [14]
But as it is in its self poor and trifling, it is I think at present
universally exploded by all the Masters of Polite Writing.

The last Fault which I shall take notice of in Milton's Style, is the
frequent use of what the Learned call Technical Words, or Terms of Art.
It is one of the great Beauties of Poetry, to make hard things
intelligible, and to deliver what is abstruse [of [15]] it self in such
easy Language as may be understood by ordinary Readers: Besides, that
the Knowledge of a Poet should rather seem born with him, or inspired,
than drawn from Books and Systems. I have often wondered how Mr. Dryden
could translate a Passage out of Virgil after the following manner.

Tack to the Larboard, and stand off to Sea.
Veer Star-board Sea and Land.

Milton makes use of Larboard in the same manner. When he is upon
Building he mentions Doric Pillars, Pilasters, Cornice, Freeze,
Architrave. When he talks of Heavenly Bodies, you meet with Eccliptic
and Eccentric, the trepidation, Stars dropping from the Zenith, Rays
culminating from the Equator. To which might be added many Instances of
the like kind in several other Arts and Sciences.

I shall in my next [Papers [16]] give an Account of the many particular
Beauties in Milton, which would have been too long to insert under those
general Heads I have already treated of, and with which I intend to
conclude this Piece of Criticism.

L.

[Footnote 1: Poetics, cap. x. Addison got his affected word implex by
reading Aristotle through the translation and notes of Andre Dacier.
Implex was the word used by the French, but the natural English
translation of Aristotle's [Greek: haploi] and [Greek: peplegmenoi] is
into simple and complicated.]

[Footnote 2: [Stories of Achil