Leaving their boasting songs tun'd to a sphere.

Every reader feels himself weary with this useless talk of an
allegorical being.

It is not only when the events are confessedly miraculous, that fancy
and fiction lose their effect: the whole system of life, while the
theocracy was yet visible, has an appearance so different from all other
scenes of human action, that the reader of the sacred volume habitually
considers it as the peculiar mode of existence of a distinct species of
mankind, that lived and acted with manners uncommunicable; so that it is
difficult, even for imagination, to place us in the state of them whose
story is related, and, by consequence, their joys and griefs are not
easily adopted, nor can the attention be often interested in any thing
that befalls them.

To the subject thus originally indisposed to the reception of poetical
embellishments, the writer brought little that could reconcile
impatience, or attract curiosity. Nothing can be more disgusting than a
narrative spangled with conceits; and conceits are all that the Davideis
supplies.

One of the great sources of poetical delight, is description, or the
power of presenting pictures to the mind. Cowley gives inferences
instead of images, and shows not what may be supposed to have been seen,
but what thoughts the sight might have suggested. When Virgil describes
the stone which Turnus lifted against Aeneas, he fixes the attention on
its bulk and weight:

Saxum circumspicit ingens,