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 not of Homer, if there wants that Delicacy in some of his Sentiments which now appears in the Works of Men of a much inferior Genius.  Besides, if there are Blemishes in any particular Thoughts, there is an infinite Beauty in the greatest Part of them.  In short, if there are many Poets who would not have fallen into the Meanness of some of his Sentiments, there are none who could have risen up to the Greatness of others. Virgil has excelled all others in the Propriety of his Sentiments. Milton shines likewise very much in this Particular:  Nor must we omit one Consideration which adds to his Honour and Reputation. Homer and Virgil introduced Persons whose Characters are commonly known among Men, and such as are to be met with either in History, or in ordinary Conversation. Milton’s Characters, most of them, lie out of Nature, and were to be formed purely by his own Invention.  It shews a greater Genius in Shakespear to have drawn his Calyban, than his Hotspur or Julius Caesar: The one was to be supplied out of his own Imagination, whereas the other might have been formed upon Tradition, History and Observation.  It was much easier therefore for Homer to find proper Sentiments for an Assembly of Grecian Generals, than for Milton to diversify his infernal Council with proper Characters, and inspire them with a Variety of Sentiments.  The Lovers of Dido and AEneas are only Copies of what has passed between other Persons. Adam and Eve, before the Fall, are a different Species from that of Mankind, who are descended from them; and none but a Poet of the most unbounded Invention, and the most exquisite Judgment, could have filled their Conversation and Behaviour with [so many apt [5]] Circumstances during their State of Innocence.