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dulging himself in too forid a manner of expression, especially in the dramatic parts of his fable, where he in. troduces dialogue : And the writer of tragedy cannot fall into so nauseous and unnatural an affectation, as to put laboured descriptions, pompous epithets, studied phrafes, and high-flown metaphors, into the mouths of his characters. But as the didactic poet fpeaks in his own person, it is necessary and proper for him to use a brighter colouring of stile, and to be more ftudious of ornament. And this is agreeable to an admirable precept of Aristotle, which no writer should ever forget,

that di&tion ought most to be labour'd in the unactive, that is the descriptive parts of a poem, in which the opinions; manners and passions of men are not represented; for too glaring an expreflion obscures the manners and the sentiments.'

We have already observed that any thing in nature may be the subject of this poem. Some things however will appear to more advantage than others, as they give a greater latitude to genius, and admit of more poctical ornaments. Natural history and philosophy are copious subjects. Precepts in there might be decorated with all the flowers in poetry ; ard, as Dr. Trapp obferves, how

can poetry be better employed, or more agreeably to its · pature and dignity, than in celebrating the works of the

great Creator, and describing the nature and generation of animals, vegetables, and minerals ; the revolutions of the heavenly bodies; the motions of the earth; the flux and reflux of the sea ; the cause of thunder, lightning, and other meteors ; the attraction of the magnet ; the gravitation, cohesion, and repulfion of matter ; the impulsive motion of light; the now progreffion of sounds ; and other amazing phænomena of nature. Most of the arts and sciences are also proper subjects for this poem, and none are more so than its two fifter arts, painting and music. In the former, particu. larly, there is room for the most entertaining precepts concerning the disposal of colours ; the arrangement of lights and shades; the secret attractives of beauty ; the various ideas which make up the one; the distinguishing between the attitudes proper to either sex, and every palGon; the representing prospects of buildings, battles,

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