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alhamed to own, that they do not relila and feel the modeft and reserved beautics of Raphael. The exact proportion of St. Peter's at Rome, occasions it not to appear so great as it really is. 'T'is 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 florid, 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 dross for Duchesses, the world pall know it,

To you gave sense, good-humour, and a poet,

The world mall know it is an unmeaning expression, and a poor expletive, into which our poet was forced by the rhymet.

FVer. 291.

+ La Rime gêne plus qu'elle n'orne les vers, . Elle los charge d'Epithétes; elle rend souvent la diction forcée, & pleine d'une vaine parure. En allongant les discours, elle les affojblit. Souvent on a recours à un vers inutile ; pour en amener un bon. FENELON to M. DELA MOTTI, Lettres, p. 62. A Cambray, 26 Janvier 1719.

Maudit

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

RHYME alfo 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 trip there's no compelling
Rapt into future times the bard begun-
Know 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 endure
Nay balf 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

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

. Boilean. Sat. 2. . 53.

expected for pieces

expe&ted from inferior verlifiers: *? It is not my

intention to enter into a trite and tedious discuțion of the several merits of rhyme and blank verse. Perbaps rhyme may be properes for thorter pieces; for lyric, elegiac, and satiric poems; where closeness of expression, and smartno of style, are expected; but for subjects of a higher order, where any enthusiasm or emotion is to be expressed, or for poems of a greater length, blank verse is undoubtedly preferable, An epic poem ia

, rhyme appears to be such a sort of thing, as the Æneid would have been if it bad been written, like Ovid's Fasti, in hexa, meter and pentameter verses; and the reading it would have been as tedious as

* Our author told Mr. HARTE, that, in order to dis, guise his being the author of the second epiflc of the Essay on Man, he made, in the firft edition, the following bad thyme: A cheat! a whore! who starts not at the

name, In all the inns of court, or Drury-Lare? And Harte remembered to have often heard it orged, in enquiries about the author, whilft he was anknown, that it was impossible it could be Pope's, on account of this very palage. Pope inserted many good lines ja Harte's Essay on Roafor.

the

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the travelling through that one long, strait, avenue of firs, that leads from Moscow to Petersburg. I will give the reader Mr,

I Pope's own opinion on this subje&, and. jo his own words, as delivered to Mrs Spence " I have nothing to fay for thyme *; but that I doubt if a poem can fupport itself without it in our language, unlefs it be stiffned with such strange words, as are likely to destroy our language itself, The high style that is

• 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 last he hit upon the following ;

Et transposant cent fois & le nom & le verbe. Upon thewing which line to La Fontaine, he cried out“Ah! how happy have you been, my friend! I would give the very best of all my Tales to have made such a difcovery." 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 toûjours que je demaodai au célébre Pope, pourquoi Milton n'avait pas rimé fon Paradis perdu ; & qu'il me répondit, Because be could not ; parce qu'il ne le pouvait pas." But the most harmonious of rhymers har said _“ What rhyme adds to sweetness, it takes away from fense.” DRYDEN.-The rhymes in L'Allegro and Il Penfe. roso are jul and correa,

affected

a

affected so much in blank,verse, would not have been supported even in Milton, had pot 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.

66 Tbere can be no music," says Cowley, “ with only one note," 37. Bielt paper-credit ! laft and best supply!

That lends corruption lighter wings to fly!
Gold, imp'd by thee, can compass hardest things,
Can pocket States, can fetch or carry Kings 1
A single leaf Ihall waft an army o’er,
Or thip off Senates to a distant fore;
A leaf, like Sybils', scatter to and fro
Our fates and fortunes, as the winds lball blow ;

• But there are many passages in Milton of the most flowing softness and smoothness; without any marks of this high style, any hard or antiquated words, or harth invera figns; which arc by no means effential to blank verse,

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