-
high
formal diction (parodied throughout; for one good example, see the
coffee service, 3.105-116)
-
invocation
of the muse, statement of argument (opening lines;
in this
case, the Muse is presumably Fermor herself, since she "inspires
the lays")
-
machinery:
gods or supernatural figures who take part in exploits (Sylphs, Gnomes,
Nymphs, Salamanders, etc.)
-
gods speak to hero
in a dream (Ariel's opening description of the Sylphs, 1.27-113)
-
arming
of the hero (Belinda at the dressing table, 1.121-149; see esp. 139)
- religious rituals (Belinda
at the dressing table again--note that Belinda is both worshipper and goddess)
-
sacrifice
to the Gods (the Baron at the altar of Love, 2.35-46)
-
exhortation of the
general to the troops (Ariel's spurring on of the Sylphs, 2.73-136)
-
catalog of the armies
(e.g. in card game 3.37-44)
-
battle scenes (card
game 3.47-100, battle after the hair is cut 4.94-140 and especially 5.37-102)
-
descent into the underworld
(descent of Umbriel into the Cave of Spleen, 4.13-88)
-
intercession of the
Gods (sylphs throughout--but notice how effective they are, 4.147-155;
also Jove, 5.71-75)
-
ascension
of the dead hero into the heavens (the lock mounts to the lunar sphere--the
sphere
in and below which madness is possible, hence the word "lunacy," 5.113-132)