Language of metrical composition, why and wherein essentially different from that of prose—Origin and elements of metre—Its necessary consequences, and the conditions thereby imposed on the metrical writer in the choice of his diction.

I conclude, therefore, that the attempt is impracticable; and that, were it not impracticable, it would still be useless. For the very power of making the selection implies the previous possession of the language selected. Or where can the poet have lived? And by what rules could he direct his choice, which would not have enabled him to select and arrange his words by the light of his own judgment? We do not adopt the language of a class by the mere adoption of such words exclusively, as that class would use, or at least understand; but likewise by following the order, in which the words of such men are wont to succeed each other. Now this order, in the intercourse of uneducated men, is distinguished from the diction of their superiors in knowledge and power, by the greater disjunction and separation in the component parts of that, whatever it be, which they wish to communicate. There is a want of that prospectiveness of mind, that surview, which enables a man to foresee the whole of what he is to convey, appertaining to any one point; and by this means so to subordinate and arrange the different parts according to their relative importance, as to convey it at once, and as an organized whole.

Now I will take the first stanza, on which I have chanced to open, in the Lyrical Ballads. It is one the most simple and the least peculiar in its language.

The words here are doubtless such as are current in all ranks of life; and of course not less so in the hamlet and cottage than in the shop, manufactory, college, or palace. But is this the order, in which the rustic would have placed the words? I am grievously deceived, if the following less compact mode of commencing the same tale be not a far more faithful copy. "I have been in a many parts, far and near, and I don't know that I ever saw before a man crying by himself in the public road; a grown man I mean, that was neither sick nor hurt," etc., etc. But when I turn to the following stanza in The Thorn:

and compare this with the language of ordinary men; or with that which I can conceive at all likely to proceed, in real life, from such a narrator, as is supposed in the note to the poem; compare it either in the succession of the images or of the sentences; I am reminded of the sublime prayer and hymn of praise, which Milton, in opposition to an established liturgy, presents as a fair specimen of common extemporary devotion, and such as we might expect to hear from every self-inspired minister of a conventicle! And I reflect with delight, how little a mere theory, though of his own workmanship, interferes with the processes of genuine imagination in a man of true poetic genius, who possesses, as Mr. Wordsworth, if ever man did, most assuredly does possess,

One point then alone remains, but that the most important; its examination having been, indeed, my chief inducement for the preceding inquisition. "There neither is nor can be any essential difference between the language of prose and metrical composition." Such is Mr. Wordsworth's assertion. Now prose itself, at least in all argumentative and consecutive works, differs, and ought to differ, from the language of conversation; even as [66] reading ought to differ from talking. Unless therefore the difference denied be that of the mere words, as materials common to all styles of writing, and not of the style itself in the universally admitted sense of the term, it might be naturally presumed that there must exist a still greater between the ordonnance of poetic composition and that of prose, than is expected to distinguish prose from ordinary conversation.

There are not, indeed, examples wanting in the history of literature, of apparent paradoxes that have summoned the public wonder as new and startling truths, but which, on examination, have shrunk into tame and harmless truisms; as the eyes of a cat, seen in the dark, have been mistaken for flames of fire. But Mr. Wordsworth is among the last men, to whom a delusion of this kind would be attributed by anyone, who had enjoyed the slightest opportunity of understanding his mind and character. Where an objection has been anticipated by such an author as natural, his answer to it must needs be interpreted in some sense which either is, or has been, or is capable of being controverted. My object then must be to discover some other meaning for the term "essential difference" in this place, exclusive of the indistinction and community of the words themselves. For whether there ought to exist a class of words in the English, in any degree resembling the poetic dialect of the Greek and Italian, is a question of very subordinate importance. The number of such words would be small indeed, in our language; and even in the Italian and Greek, they consist not so much of different words, as of slight differences in the forms of declining and conjugating the same words; forms, doubtless, which having been, at some period more or less remote, the common grammatic flexions of some tribe or province, had been accidentally appropriated to poetry by the general admiration of certain master intellects, the first established lights of inspiration, to whom that dialect happened to be native.

Essence, in its primary signification, means the principle of individuation, the inmost principle of the possibility of any thing, as that particular thing. It is equivalent to the idea of a thing, whenever we use the word, idea, with philosophic precision. Existence, on the other hand, is distinguished from essence, by the superinduction of reality. Thus we speak of the essence, and essential properties of a circle; but we do not therefore assert, that any thing, which really exists, is mathematically circular. Thus too, without any tautology we contend for the existence of the Supreme Being; that is, for a reality correspondent to the idea. There is, next, a secondary use of the word essence, in which it signifies the point or ground of contra-distinction between two modifications of the same substance or subject. Thus we should be allowed to say, that the style of architecture of Westminster Abbey is essentially different from that of St. Paul, even though both had been built with blocks cut into the same form, and from the same quarry. Only in this latter sense of the term must it have been denied by Mr. Wordsworth (for in this sense alone is it affirmed by the general opinion) that the language of poetry (that is the formal construction, or architecture, of the words and phrases) is essentially different from that of prose. Now the burden of the proof lies with the oppugner, not with the supporters of the common belief. Mr. Wordsworth, in consequence, assigns as the proof of his position, "that not only the language of a large portion of every good poem, even of the most elevated character, must necessarily, except with reference to the metre, in no respect differ from that of good prose, but likewise that some of the most interesting parts of the best poems will be found to be strictly the language of prose, when prose is well written. The truth of this assertion might be demonstrated by innumerable passages from almost all the poetical writings, even of Milton himself." He then quotes Gray's sonnet—

and adds the following remark:—"It will easily be perceived, that the only part of this Sonnet which is of any value, is the lines printed in italics; it is equally obvious, that, except in the rhyme, and in the use of the single word `fruitless' for fruitlessly, which is so far a defect, the language of these lines does in no respect differ from that of prose."

An idealist defending his system by the fact, that when asleep we often believe ourselves awake, was well answered by his plain neighbour, "Ah, but when awake do we ever believe ourselves asleep?" Things identical must be convertible. The preceding passage seems to rest on a similar sophism. For the question is not, whether there may not occur in prose an order of words, which would be equally proper in a poem; nor whether there are not beautiful lines and sentences of frequent occurrence in good poems, which would be equally becoming as well as beautiful in good prose; for neither the one nor the other has ever been either denied or doubted by any one. The true question must be, whether there are not modes of expression, a construction, and an order of sentences, which are in their fit and natural place in a serious prose composition, but would be disproportionate and heterogeneous in metrical poetry; and, vice versa, whether in the language of a serious poem there may not be an arrangement both of words and sentences, and a use and selection of (what are called) figures of speech, both as to their kind, their frequency, and their occasions, which on a subject of equal weight would be vicious and alien in correct and manly prose. I contend, that in both cases this unfitness of each for the place of the other frequently will and ought to exist.

And first from the origin of metre. This I would trace to the balance in the mind effected by that spontaneous effort which strives to hold in check the workings of passion. It might be easily explained likewise in what manner this salutary antagonism is assisted by the very state, which it counteracts; and how this balance of antagonists became organized into metre (in the usual acceptation of that term), by a supervening act of the will and judgment, consciously and for the foreseen purpose of pleasure. Assuming these principles, as the data of our argument, we deduce from them two legitimate conditions, which the critic is entitled to expect in every metrical work. First, that, as the elements of metre owe their existence to a state of increased excitement, so the metre itself should be accompanied by the natural language of excitement. Secondly, that as these elements are formed into metre artificially, by a voluntary act, with the design and for the purpose of blending delight with emotion, so the traces of present volition should throughout the metrical language be proportionately discernible. Now these two conditions must be reconciled and co- present. There must be not only a partnership, but a union; an interpenetration of passion and of will, of spontaneous impulse and of voluntary purpose. Again, this union can be manifested only in a frequency of forms and figures of speech, (originally the offspring of passion, but now the adopted children of power), greater than would be desired or endured, where the emotion is not voluntarily encouraged and kept up for the sake of that pleasure, which such emotion, so tempered and mastered by the will, is found capable of communicating. It not only dictates, but of itself tends to produce a more frequent employment of picturesque and vivifying language, than would be natural in any other case, in which there did not exist, as there does in the present, a previous and well understood, though tacit, compact between the poet and his reader, that the latter is entitled to expect, and the former bound to supply this species and degree of pleasurable excitement. We may in some measure apply to this union the answer of Polixenes, in the Winter's Tale, to Perdita's neglect of the streaked gilliflowers, because she had heard it said,

Secondly, I argue from the effects of metre. As far as metre acts in and for itself, it tends to increase the vivacity and susceptibility both of the general feelings and of the attention. This effect it produces by the continued excitement of surprise, and by the quick reciprocations of curiosity still gratified and still re-excited, which are too slight indeed to be at any one moment objects of distinct consciousness, yet become considerable in their aggregate influence. As a medicated atmosphere, or as wine during animated conversation, they act powerfully, though themselves unnoticed. Where, therefore, correspondent food and appropriate matter are not provided for the attention and feelings thus roused there must needs be a disappointment felt; like that of leaping in the dark from the last step of a stair-case, when we had prepared our muscles for a leap of three or four.

The discussion on the powers of metre in the preface is highly ingenious and touches at all points on truth. But I cannot find any statement of its powers considered abstractly and separately. On the contrary Mr. Wordsworth seems always to estimate metre by the powers, which it exerts during, (and, as I think, in consequence of) its combination with other elements of poetry. Thus the previous difficulty is left unanswered, what the elements are, with which it must be combined, in order to produce its own effects to any pleasurable purpose. Double and tri-syllable rhymes, indeed, form a lower species of wit, and, attended to exclusively for their own sake, may become a source of momentary amusement; as in poor Smart's distich to the Welsh Squire who had promised him a hare:

But for any poetic purposes, metre resembles, (if the aptness of the simile may excuse its meanness), yeast, worthless or disagreeable by itself, but giving vivacity and spirit to the liquor with which it is proportionally combined.

The reference to THE CHILDREN IN THE WOOD by no means satisfies my judgment. We all willingly throw ourselves back for awhile into the feelings of our childhood. This ballad, therefore, we read under such recollections of our own childish feelings, as would equally endear to us poems, which Mr. Wordsworth himself would regard as faulty in the opposite extreme of gaudy and technical ornament. Before the invention of printing, and in a still greater degree, before the introduction of writing, metre, especially alliterative metre, (whether alliterative at the beginning of the words, as in PIERCE PLOUMAN, or at the end, as in rhymes) possessed an independent value as assisting the recollection, and consequently the preservation, of any series of truths or incidents. But I am not convinced by the collation of facts, that THE CHILDREN IN THE WOOD owes either its preservation, or its popularity, to its metrical form. Mr. Marshal's repository affords a number of tales in prose inferior in pathos and general merit, some of as old a date, and many as widely popular. TOM HICKATHRIFT, JACK THE GIANT-KILLER, GOODY TWO-SHOES, and LITTLE RED RIDING-HOOD are formidable rivals. And that they have continued in prose, cannot be fairly explained by the assumption, that the comparative meanness of their thoughts and images precluded even the humblest forms of metre. The scene of GOODY TWO-SHOES in the church is perfectly susceptible of metrical narration; and, among the thaumata thaumastotata even of the present age, I do not recollect a more astonishing image than that of the "whole rookery, that flew out of the giant's beard," scared by the tremendous voice, with which this monster answered the challenge of the heroic TOM HICKATHRIFT!

If from these we turn to compositions universally, and independently of all early associations, beloved and admired; would the MARIA, THE MONK, or THE POOR MAN'S ASS of Sterne, be read with more delight, or have a better chance of immortality, had they without any change in the diction been composed in rhyme, than in their present state? If I am not grossly mistaken, the general reply would be in the negative. Nay, I will confess, that, in Mr. Wordsworth's own volumes, the ANECDOTE FOR FATHERS, SIMON LEE, ALICE FELL, BEGGARS, and THE SAILOR'S MOTHER, notwithstanding the beauties which are to be found in each of them where the poet interposes the music of his own thoughts, would have been more delightful to me in prose, told and managed, as by Mr. Wordsworth they would have been, in a moral essay or pedestrian tour.

Metre in itself is simply a stimulant of the attention, and therefore excites the question: Why is the attention to be thus stimulated? Now the question cannot be answered by the pleasure of the metre itself; for this we have shown to be conditional, and dependent on the appropriateness of the thoughts and expressions, to which the metrical form is superadded. Neither can I conceive any other answer that can be rationally given, short of this: I write in metre, because I am about to use a language different from that of prose. Besides, where the language is not such, how interesting soever the reflections are, that are capable of being drawn by a philosophic mind from the thoughts or incidents of the poem, the metre itself must often become feeble. Take the last three stanzas of THE SAILOR'S MOTHER, for instance. If I could for a moment abstract from the effect produced on the author's feelings, as a man, by the incident at the time of its real occurrence, I would dare appeal to his own judgment, whether in the metre itself he found a sufficient reason for their being written metrically?

If disproportioning the emphasis we read these stanzas so as to make the rhymes perceptible, even tri-syllable rhymes could scarcely produce an equal sense of oddity and strangeness, as we feel here in finding rhymes at all in sentences so exclusively colloquial. I would further ask whether, but for that visionary state, into which the figure of the woman and the susceptibility of his own genius had placed the poet's imagination,—(a state, which spreads its influence and colouring over all, that co-exists with the exciting cause, and in which

I would ask the poet whether he would not have felt an abrupt downfall in these verses from the preceding stanza?

It must not be omitted, and is besides worthy of notice, that those stanzas furnish the only fair instance that I have been able to discover in all Mr. Wordsworth's writings, of an actual adoption, or true imitation, of the real and very language of low and rustic life, freed from provincialisms.

Thirdly, I deduce the position from all the causes elsewhere assigned, which render metre the proper form of poetry, and poetry imperfect and defective without metre. Metre, therefore, having been connected with poetry most often and by a peculiar fitness, whatever else is combined with metre must, though it be not itself essentially poetic, have nevertheless some property in common with poetry, as an intermedium of affinity, a sort, (if I may dare borrow a well-known phrase from technical chemistry), of mordaunt between it and the super-added metre. Now poetry, Mr. Wordsworth truly affirms, does always imply passion: which word must be here understood in its most general sense, as an excited state of the feelings and faculties. And as every passion has its proper pulse, so will it likewise have its characteristic modes of expression. But where there exists that degree of genius and talent which entitles a writer to aim at the honours of a poet, the very act of poetic composition itself is, and is allowed to imply and to produce, an unusual state of excitement, which of course justifies and demands a correspondent difference of language, as truly, though not perhaps in as marked a degree, as the excitement of love, fear, rage, or jealousy. The vividness of the descriptions or declamations in Donne or Dryden, is as much and as often derived from the force and fervour of the describer, as from the reflections, forms or incidents, which constitute their subject and materials. The wheels take fire from the mere rapidity of their motion. To what extent, and under what modifications, this may be admitted to act, I shall attempt to define in an after remark on Mr. Wordsworth's reply to this objection, or rather on his objection to this reply, as already anticipated in his preface.

Fourthly, and as intimately connected with this, if not the same argument in a more general form, I adduce the high spiritual instinct of the human being impelling us to seek unity by harmonious adjustment, and thus establishing the principle that all the parts of an organized whole must be assimilated to the more important and essential parts. This and the preceding arguments may be strengthened by the reflection, that the composition of a poem is among the imitative arts; and that imitation, as opposed to copying, consists either in the interfusion of the same throughout the radically different, or of the different throughout a base radically the same.

Lastly, I appeal to the practice of the best poets, of all countries and in all ages, as authorizing the opinion, (deduced from all the foregoing,) that in every import of the word essential, which would not here involve a mere truism, there may be, is, and ought to be an essential difference between the language of prose and of metrical composition.

In Mr. Wordsworth's criticism of Gray's Sonnet, the reader's sympathy with his praise or blame of the different parts is taken for granted rather perhaps too easily. He has not, at least, attempted to win or compel it by argumentative analysis. In my conception at least, the lines rejected as of no value do, with the exception of the two first, differ as much and as little from the language of common life, as those which he has printed in italics as possessing genuine excellence. Of the five lines thus honourably distinguished, two of them differ from prose even more widely, than the lines which either precede or follow, in the position of the words.

But were it otherwise, what would this prove, but a truth, of which no man ever doubted?—videlicet, that there are sentences, which would be equally in their place both in verse and prose. Assuredly it does not prove the point, which alone requires proof; namely, that there are not passages, which would suit the one and not suit the other. The first line of this sonnet is distinguished from the ordinary language of men by the epithet to morning. For we will set aside, at present, the consideration, that the particular word "smiling" is hackneyed, and, as it involves a sort of personification, not quite congruous with the common and material attribute of "shining." And, doubtless, this adjunction of epithets for the purpose of additional description, where no particular attention is demanded for the quality of the thing, would be noticed as giving a poetic cast to a man's conversation. Should the sportsman exclaim, "Come boys! the rosy morning calls you up:" he will be supposed to have some song in his head. But no one suspects this, when he says, "A wet morning shall not confine us to our beds." This then is either a defect in poetry, or it is not. Whoever should decide in the affirmative, I would request him to re-peruse any one poem, of any confessedly great poet from Homer to Milton, or from Aeschylus to Shakespeare; and to strike out, (in thought I mean), every instance of this kind. If the number of these fancied erasures did not startle him; or if he continued to deem the work improved by their total omission; he must advance reasons of no ordinary strength and evidence, reasons grounded in the essence of human nature. Otherwise, I should not hesitate to consider him as a man not so much proof against all authority, as dead to it.

The second line,

has indeed almost as many faults as words. But then it is a bad line, not because the language is distinct from that of prose; but because it conveys incongruous images; because it confounds the cause and the effect; the real thing with the personified representative of the thing; in short, because it differs from the language of good sense! That the "Phoebus" is hackneyed, and a school-boy image, is an accidental fault, dependent on the age in which the author wrote, and not deduced from the nature of the thing. That it is part of an exploded mythology, is an objection more deeply grounded. Yet when the torch of ancient learning was re-kindled, so cheering were its beams, that our eldest poets, cut off by Christianity from all accredited machinery, and deprived of all acknowledged guardians and symbols of the great objects of nature, were naturally induced to adopt, as a poetic language, those fabulous personages, those forms of the [68]supernatural in nature, which had given them such dear delight in the poems of their great masters. Nay, even at this day what scholar of genial taste will not so far sympathize with them, as to read with pleasure in Petrarch, Chaucer, or Spenser, what he would perhaps condemn as puerile in a modern poet?

I remember no poet, whose writings would safelier stand the test of Mr. Wordsworth's theory, than Spenser. Yet will Mr. Wordsworth say, that the style of the following stanza is either undistinguished from prose, and the language of ordinary life? Or that it is vicious, and that the stanzas are blots in THE FAERY QUEEN?

On the contrary to how many passages, both in hymn books and in blank verse poems, could I, (were it not invidious), direct the reader's attention, the style of which is most unpoetic, because, and only because, it is the style of prose? He will not suppose me capable of having in my mind such verses, as

To such specimens it would indeed be a fair and full reply, that these lines are not bad, because they are unpoetic; but because they are empty of all sense and feeling; and that it were an idle attempt to prove that "an ape is not a Newton, when it is self-evident that he is not a man." But the sense shall be good and weighty, the language correct and dignified, the subject interesting and treated with feeling; and yet the style shall, notwithstanding all these merits, be justly blamable as prosaic, and solely because the words and the order of the words would find their appropriate place in prose, but are not suitable to metrical composition. The CIVIL WARS of Daniel is an instructive, and even interesting work; but take the following stanzas, (and from the hundred instances which abound I might probably have selected others far more striking):

Will it be contended on the one side, that these lines are mean and senseless? Or on the other, that they are not prosaic, and for that reason unpoetic? This poet's well-merited epithet is that of the "well-languaged Daniel;" but likewise, and by the consent of his contemporaries no less than of all succeeding critics, "the prosaic Daniel." Yet those, who thus designate this wise and amiable writer from the frequent incorrespondency of his diction to his metre in the majority of his compositions, not only deem them valuable and interesting on other accounts; but willingly admit, that there are to be found throughout his poems, and especially in his EPISTLES and in his HYMEN'S TRIUMPH, many and exquisite specimens of that style which, as the neutral ground of prose and verse, is common to both. A fine and almost faultless extract, eminent as for other beauties, so for its perfection in this species of diction, may be seen in Lamb's DRAMATIC SPECIMENS, a work of various interest from the nature of the selections themselves, (all from the plays of Shakespeare's contemporaries),—and deriving a high additional value from the notes, which are full of just and original criticism, expressed with all the freshness of originality.

Among the possible effects of practical adherence to a theory, that aims to identify the style of prose and verse,—(if it does not indeed claim for the latter a yet nearer resemblance to the average style of men in the viva voce intercourse of real life)—we might anticipate the following as not the least likely to occur. It will happen, as I have indeed before observed, that the metre itself, the sole acknowledged difference, will occasionally become metre to the eye only. The existence of prosaisms, and that they detract from the merit of a poem, must at length be conceded, when a number of successive lines can be rendered, even to the most delicate ear, unrecognizable as verse, or as having even been intended for verse, by simply transcribing them as prose; when if the poem be in blank verse, this can be effected without any alteration, or at most by merely restoring one or two words to their proper places, from which they have been transplanted [69] for no assignable cause or reason but that of the author's convenience; but if it be in rhyme, by the mere exchange of the final word of each line for some other of the same meaning, equally appropriate, dignified and euphonic.

The answer or objection in the preface to the anticipated remark "that metre paves the way to other distinctions," is contained in the following words. "The distinction of rhyme and metre is regular and uniform, and not, like that produced by (what is usually called) poetic diction, arbitrary, and subject to infinite caprices, upon which no calculation whatever can be made. In the one case the reader is utterly at the mercy of the poet respecting what imagery or diction he may choose to connect with the passion." But is this a poet, of whom a poet is speaking? No surely! rather of a fool or madman: or at best of a vain or ignorant phantast! And might not brains so wild and so deficient make just the same havoc with rhymes and metres, as they are supposed to effect with modes and figures of speech? How is the reader at the mercy of such men? If he continue to read their nonsense, is it not his own fault? The ultimate end of criticism is much more to establish the principles of writing, than to furnish rules how to pass judgment on what has been written by others; if indeed it were possible that the two could be separated. But if it be asked, by what principles the poet is to regulate his own style, if he do not adhere closely to the sort and order of words which he hears in the market, wake, high-road, or plough-field? I reply; by principles, the ignorance or neglect of which would convict him of being no poet, but a silly or presumptuous usurper of the name. By the principles of grammar, logic, psychology. In one word by such a knowledge of the facts, material and spiritual, that most appertain to his art, as, if it have been governed and applied by good sense, and rendered instinctive by habit, becomes the representative and reward of our past conscious reasonings, insights, and conclusions, and acquires the name of Taste. By what rule that does not leave the reader at the poet's mercy, and the poet at his own, is the latter to distinguish between the language suitable to suppressed, and the language, which is characteristic of indulged, anger? Or between that of rage and that of jealousy? Is it obtained by wandering about in search of angry or jealous people in uncultivated society, in order to copy their words? Or not far rather by the power of imagination proceeding upon the all in each of human nature? By meditation, rather than by observation? And by the latter in consequence only of the former? As eyes, for which the former has pre-determined their field of vision, and to which, as to its organ, it communicates a microscopic power? There is not, I firmly believe, a man now living, who has, from his own inward experience, a clearer intuition, than Mr. Wordsworth himself, that the last mentioned are the true sources of genial discrimination. Through the same process and by the same creative agency will the poet distinguish the degree and kind of the excitement produced by the very act of poetic composition. As intuitively will he know, what differences of style it at once inspires and justifies; what intermixture of conscious volition is natural to that state; and in what instances such figures and colours of speech degenerate into mere creatures of an arbitrary purpose, cold technical artifices of ornament or connection. For, even as truth is its own light and evidence, discovering at once itself and falsehood, so is it the prerogative of poetic genius to distinguish by parental instinct its proper offspring from the changelings, which the gnomes of vanity or the fairies of fashion may have laid in its cradle or called by its names. Could a rule be given from without, poetry would cease to be poetry, and sink into a mechanical art. It would be morphosis, not poiaesis. The rules of the Imagination are themselves the very powers of growth and production. The words to which they are reducible, present only the outlines and external appearance of the fruit. A deceptive counterfeit of the superficial form and colours may be elaborated; but the marble peach feels cold and heavy, and children only put it to their mouths. We find no difficulty in admitting as excellent, and the legitimate language of poetic fervour self-impassioned, Donne's apostrophe to the Sun in the second stanza of his PROGRESS OF THE SOUL.

Or the next stanza but one:

As little difficulty do we find in excluding from the honours of unaffected warmth and elevation the madness prepense of pseudopoesy, or the startling hysteric of weakness over-exerting itself, which bursts on the unprepared reader in sundry odes and apostrophes to abstract terms. Such are the Odes to jealousy, to Hope, to Oblivion, and the like, in Dodsley's collection and the magazines of that day, which seldom fail to remind me of an Oxford copy of verses on the two SUTTONS, commencing with

It is not to be denied that men of undoubted talents, and even poets of true, though not of first-rate, genius, have from a mistaken theory deluded both themselves and others in the opposite extreme. I once read to a company of sensible and well-educated women the introductory period of Cowley's preface to his "Pindaric Odes," written in imitation of the style and manner of the odes of Pindar. "If," (says Cowley), "a man should undertake to translate Pindar, word for word, it would be thought that one madman had translated another as may appear, when he, that understands not the original, reads the verbal traduction of him into Latin prose, than which nothing seems more raving." I then proceeded with his own free version of the second Olympic, composed for the charitable purpose of rationalizing the Theban Eagle.

One of the company exclaimed, with the full assent of the rest, that if the original were madder than this, it must be incurably mad. I then translated the ode from the Greek, and as nearly as possible, word for word; and the impression was, that in the general movement of the periods, in the form of the connections and transitions, and in the sober majesty of lofty sense, it appeared to them to approach more nearly, than any other poetry they had heard, to the style of our Bible, in the prophetic books. The first strophe will suffice as a specimen:

But are such rhetorical caprices condemnable only for their deviation from the language of real life? and are they by no other means to be precluded, but by the rejection of all distinctions between prose and verse, save that of metre? Surely good sense, and a moderate insight into the constitution of the human mind, would be amply sufficient to prove, that such language and such combinations are the native product neither of the fancy nor of the imagination; that their operation consists in the excitement of surprise by the juxta-position and apparent reconciliation of widely different or incompatible things. As when, for instance, the hills are made to reflect the image of a voice. Surely, no unusual taste is requisite to see clearly, that this compulsory juxtaposition is not produced by the presentation of impressive or delightful forms to the inward vision, nor by any sympathy with the modifying powers with which the genius of the poet had united and inspirited all the objects of his thought; that it is therefore a species of wit, a pure work of the will, and implies a leisure and self-possession both of thought and of feeling, incompatible with the steady fervour of a mind possessed and filled with the grandeur of its subject. To sum up the whole in one sentence. When a poem, or a part of a poem, shall be adduced, which is evidently vicious in the figures and centexture of its style, yet for the condemnation of which no reason can be assigned, except that it differs from the style in which men actually converse, then, and not till then, can I hold this theory to be either plausible, or practicable, or capable of furnishing either rule, guidance, or precaution, that might not, more easily and more safely, as well as more naturally, have been deduced in the author's own mind from considerations of grammar, logic, and the truth and nature of things, confirmed by the authority of works, whose fame is not of one country nor of one age.