By the "turns of words and thoughts" Dryden here means the repetition of a word or phrase in slightly altered guise as the thought is turned over in the mind and presented in a new aspect. There is an almost epigrammatic neatness about some of the examples that he cites from Ovid and Catullus. It is not surprising that he failed to find these elegant turns in Milton, for they are few. Addison and Steele, writing in the _Tatler_, reproach him with having overlooked the speech of Eve in the Fourth Book of _Paradise Lost_:-- Sweet is the breath of Morn, her rising sweet, With charm of earliest birds; pleasant the Sun, When first on this delightful land he spreads His orient beams, on herb, tree, fruit, and flower, Glistering with dew; fragrant the fertile Earth After soft showers; and sweet the coming-on Of grateful Evening mild; then silent Night, With this her solemn bird, and this fair Moon, And these the gems of Heaven, her starry train: But neither breath of Morn, when she ascends With charm of earliest birds; nor rising Sun On this delightful land; nor herb, fruit, flower, Glistering with dew; nor fragrance after showers Nor grateful Evening mild; nor silent Night, With this her solemn bird, nor walk by moon, Or glittering star-light, without thee is sweet. Dryden remarks that the elegance he speaks of is common in Italian sonnets, which are usually written on the turn of the first thought; and certainly this speech of Eve might be truly compared, in all but the metrical structure, to an interspersed sonnet. There is another elaborate piece of repetition at the close of the Tenth Book, where the humble prostration of Adam and Eve is described in exactly the form of speech used by Adam to propose it. But the repetition in this case is too exact to suit Dryden's meaning; by a close verbal coincidence the ritual of penitence is emphasised in detail, and the book brought to a restful pause. Scattered here and there throughout Milton's longer poems Dryden might, nevertheless, have found the thing he sought. One instance that he gives is taken from the fourth Georgic of Virgil, where Orpheus, leading Eurydice up from Hell, suddenly turns to look on her:-- _Cum subita incautum dementia cepit amantem;_ _Ignoscenda quidem, scirent si ignoscere Manes._ This turn--"deserving grace, if grace were known in Hell"--may easily be matched in Milton. In the Second Book of _Paradise Lost_ is described how the damned feel by turns the bitter change Of fierce extremes, extremes by change more fierce. In the Fifth Book, when Raphael arrives at the gate of Paradise, the angels to his state And to his message high in honour rise, For on some message high they guessed him bound. In _Samson Agonistes_ it is noted that nations grown corrupt love bondage more than liberty, Bondage with ease than strenuous liberty.