The second canto introduces us to a solemn annual hunting, held by Duke Gondibert in commemoration of a great victory gained on this day by his grandsire. His train was adorned by many gallant and noble persons, the friends of his family, and commanders in his army. The hunting, which is described with much poetical spirit, terminates in a combat. As Gondibert and his party are returning weary homeward, an ancient ranger hastily brings the tidings that Oswald, who had lain in ambush with a body of chosen horse, is advancing upon them. The Duke, rejecting all counsels of flight, prepares to receive his foes; and with an account of their principal leaders, and the order of their march, the canto concludes. A parley between the chiefs now succeeds, in which the character of each is well preserved. Oswald warmly accuses his rival for usurping his claims on the princess and the kingdom. Gondibert defends himself with temper, and disavows all ambitious designs. The other disdains accommodation; and the conference ends in a generous agreement to decide their differences in single fight. When every thing is prepared for the combat, Hubert, the brother of Oswald, steps forth with a general challenge to the opposite party. This is instantly accepted, and serves for a prelude to so many others, that a general engagement seems likely to ensue; when Oswald reproves their disobedient ardour: and, upon Hubert’s insisting to share his fate from the rights of brotherhood, it is at length decided that three persons of each party should enter the lists along with their generals. The duel then comes on, in the fourth canto; in which Oswald, Hubert, Paradine and Dargonet, are severally matched with Gondibert; Hurgonil, the lover of Orna, the Duke’s sister; and Arnold and Hugo, generous rivals in Laura. Descriptions of battle are so frequent in epic poetry, that scarcely any circumstances of variety are left to diversify them. Homer and his imitators have attempted novelty in the multiplicity of their combats by every possible variation of weapon, posture, and wound. They considered the human body with anatomical nicety; and dwelt with a savage pleasure upon every idea of pain and horror that studied butchery could excite. I shall leave it to the professed admirers of antiquity to determine under what head of poetical beauty such objects are to be ranged. The terrible is certainly a principal source of the sublime; but a slaughter-house or a surgery would not seem proper studies for a poet. D’avenant has drawn little from them. His battles are rendered interesting chiefly by the character and situation of the combatants. When Arnold, the favoured lover of Laura, is slain by Paradine, Hugo, who had overthrown his antagonist, springs to avenge his rival, with these truly gallant expressions: