ashamed to own, that they do not relica and feel the modest and reserved beauties of Raphael. The exact proportion of St. Peter's at Rome, occasions it not to appear so great as it really is. 'Tis the same in writing; but, by degrees, we find that Lucan, Martial, Juvenal, Q. Curtius, and Florus, and others of that stamp, who abound in figures that contribute to the false forid, in luxuriant metaphors, in pointed conceits, in' lively antitheses, unexpectedly darted forth, are contemptible for the very causes which once excited our admiration. 'Tis then we relish Terence, Cæsar, and Xenophon, 16. Kept drols for Duchesses, the world fall know it, Το

you gave sense, good-bumour, and a poet. The world mall know it is an unmeaning expression, and a poor expletive, into which our poet was forced by the rhyme t.

Vér. 291. + La Rimc gêne plus qu'elle n'orne les pers. Elle les charge d'Epitbétes; elle rend souvent la diction forcée, &ipleine d'une vaine parure. En allongant les discours, elle les affoiblt. Souvent on a recours à un vers inutile; pour en amener un bon. Fenelon to M. DE LA MOTTs, Lettres, p. 6z. A Cambray, 26 Janvier 1719.


Maudit soit le premier, dont la verve insensée,
Dans les bornes d'un vers renferma fa pensée,
Et donnant à ses mots une étroite prison,
Voulut avec la rime enchaîner la raison

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RHYME also could alone be the occasion of the following faulty expressions; taken too from some of his most finilhed pieces.

Not Cæsar's Empress would I deign to prove
If Queenberry to strip there's no compelling
Rapt into future times the bard begun
Koow all the noise the busy world can keep
If true, a woful likeness, and if lyes
Nothing so true as what you once let fall
For virtue's self may too much zeal be bad

can no wants endureaza
Nay half in heav'n except what's mighty odd

can have no flaw
on such a world we fall
take scandal at a spark
do the knack, and do tbe feat

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And more instances might be added, if it were not disagreeable to observe these straws in amber. But if rhyme occasions such inconveniences and improprieties in fo exact a writer as our author, what can be

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expected from inferior versifiers: *? It is not my

intention to enter into a trite and tedious discussion of the several merits of rhyme and blank versc. Perbaps rhymo may be propered for thorter pieces; for lyric, elegiac, and satiric poems; for pieces where closeness of expression, and smartnolx of style, are expected, but for subjects of a higher order, where any enthugasm or emotion is to be expressed, or for poems of a greater length, blank verse is undoubtedly preferable, An epic poem in rhyme appears to be such a sort of thing, as the Æneid would have been if it had been written, like Ovid's Fasti, in hexameter and pentameter verses ; and the reading it would have been as tedious as

* Our author told Mr. HARTE, that, in order to disa guise his being the author of the second epiftle of the Efray on Man, he made, in the first edition, the following bad rhyme:

A cheat! a whore! who karts not at the namba

In all the inns of court, or Drury-Lare? And HARTE remembered to have often heard it orged, jo enquiries about the author, whilft he was anknown, that it was impoffible it could be Pope's, on account of this very paffage. Pope inserted many good lines in Harte's Eflay on Reafou.


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the travelling through that one long, strait, avenue of firs, that leads from Moscow to Petersourg. I will give the reader Mr, Pope's own opinion on this subje&, and in his own words, as delivered to Mr. Spence: " I have nothing to fay for chyme *; but that I doubt if a poem can support itself without it in our language, unlefs it be ftiffned with such strange words, as are likely to destroy our language itself, The high style that is

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• Boileau, whose pra&ice it was to make the second line of a couplet before the first, having written (in his second fatire) this line,

Dans mes vers recoysus mettre en pieces Malherbe, it was thought impoßible by La Fontaine and Moliere, and other critical friends, for him to find a proper rhyme for the word Malherbe : at lalt he hit upon the following;

Et transposant çeat fois & le nom & le verbe. Upon (hewing which line to La Fontaine, he cried out“ Ab! how happy have you been, my friend! I would

very best of all my Tales to have made such a discoyery." So important in the eyes of French poets is a lucky rhyme! Voltaire gives us the following anecdote. Questions sur l'Encycloped. Partic 5, 255 page. Je me fouviendrai toujours que je demandai au célébre Pope, pourquoi Milton n'avait pas rimé son Paradis perdu; & qu'il me répondit, Because be could not ; parce qu'il ne le pouvait pas."But the most barmonious of rhymers has said "What shyme adds to sweetness, it takes away from fease." DRYDEN.-The rhymes in L'Allegro and Il Penseroso are jut and correct.


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affected so much in blank,verse, would not have been supported even in Milton, had not his subject turned so much on such Arange and out of the world things as it does *.”—May we not, however, venture to observe, that more of that true harmony which will best support a poem, will result from a variety of pauses, and from an intermixture of those different feet (iambic and trochaïc particularly) into which our language naturally falls, than from the uniformity of fimilar terminations.

16 There can be no music," says Cowley, with only one note,

17. Blett paper-credit! last and best supply!

That lends corruption lighter wings to Ay!
Gold, imp'd by thee, can compass hardest things,
Can pocket States, can fetch or carry Kings :
A single leaf shall waft an army o'er,
Or lip off Senates to a diftant lhore;
A leaf, like Sybils', scatter to and fro
Our fates and fortunes, as the winds Dall blow;

• But there are many passages in Milton of the mof Aowing softness and smoothness; without any marks of this high style, any hard or antiquated words, or harla invera signs; which arc by no means effential to blank verse.


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