will cloy the ear, especially in long poems, and instead of giving energy to the expreffions, would in fome degree leffen their force, by producing effects fimilar to what are experienced in hearing an oration delivered throughout in one monotonous tone and accent which are never varied according to the fenfe. But as experience convinces us that this is not an evil of fuch importance as to induce us to facrifice the fatisfaction arifing from the fafcinating harmony of numbers, we should endeavour to draw a medium, by adopting fuch a measure for general ufe, as fhall poffefs the advantages of a regu lar combination of founds, and will at the fame time be attended, in the leaft degree, with thofe ill confequences I have already stated. For thefe purpofes the iambic, of which our common verfe of eight fyllables, and heroic measure of ten fyllables, are compofed, appears the beft; like the fmooth gliding of a gentle current, it neither difgufts by its rapidity, or harthnefs of founds; while it is fufficiently melodious to delight, its accent is not fo forcible as to prevent that emphasis which the nature of the fubject demands being adopted. Hence, perhaps, it will be found that poetry compofed in this measure will admit of a greater variety of tones and expreffion, and a more pathetic and energetic mode of delivery in recitation than any other. Another advantage is, that lines which are chiefly formed of iambic feet, admit of more numerous combinations and paufes than other meafures; hence the ear is not cloyed by the continual return of the fame regular cadence, and the ingenious verfifier will meet with frequent opportunities of fuiting his verfe to the fubject, and making the found the echo of the fenfe.

There is another meafure which, from the example of fome eminent writers of the prefent day, has become very fashionable, this is the anapeftick, confifting of feet of three fyllables, and is that in which Pafquin wrote his Children of Thefpis. This fpecies of verfification, from the rapidity of its motion, and the unvarying jingle

of

of its numbers, does not appear fuited to a poem of any length, though its liveliness may please in a fhort one. But, from the causes juft ftated, the attention is apt to be drawn off from the sense to the found, and the effect of many paffages, especially those of a tender or energetic kind, is thereby confiderably diminished; this will appear obvious from hearing a paffage in this measure recited; though the reader may possess the most delicate fenfibility, or the nicest discriminative taste, he can introduce but few of the graces of delivery; thofe tones and accents which are useful in heightening the pathos of forcible and lively conceptions, can feldom be used without injuring the harmony of the line. There is a kind of poetical compofition, or rather a medley of all kinds put together, to which moft writers, who have been fuccessful in their literary attempts, afpires this is the irregular lyric, by many, falfely, called the Pindaric ode. Alas, how futile is their ambition! the daring fublimity, the rapture, the melody of the Theban lyre is loft; nought is retained but its whimsicality. Perhaps convenience is what induces many to adopt this licentious mode of writing; a line of ten fyllables may not admit of an eafy formation, in fome inftances; one therefore of fix or eight is made to answer the purpose; a rhyme may not readily prefent itself to their minds to enable them to complete the couplet; its introduction is therefore deferred till the third or fourth, or perhaps the ninth or tenth line from that to which it correfponds. Indeed, there are few appear to understand the true defign of this irregular mode of writing, but imagine that an emancipation from the ordinary rules of criticism is only to enable them to write with more ease and facility, though it must be confeffed that uniformity in regard to the numbers and quantity of our lines, as far as it refpects its pleafing influence on the ear, is an advantage which ought not to be facrificed without neceffity. Whenever, therefore, this loofe method of writing is adopted, the author ought to be actuated by motives of a more im

portant

portant nature than thofe of mere caprice or convenience. His true intention fhould be to give additional force and pathos to his ideas, by fuiting his harmony to his expreffions through all the varying tranfitions of his poem; perhaps Dryden's celebrated Odes on Cecilia'sday, are the fineft inftances extant, either in our own'or any language, of this fuitability of the verfe to the fubject. A great deal of that enthufiafm which runs through them, and which alternately roufes the foul to joy, inflames it with rage, or melts it into tenderness and love, arifes from its ingenious modulations.

There is one remark which may be deduced from the foregoing, which is, that great attention fhould be paid to the fubject in this fpecies of writing; as only thofe which admit of fuch images as are calculated to delight, furprise, and terrify the imagination, and of fuch expreffions as will excite the keenest and most lively fenfations of the foul, will be found properly adapted for the purpofe. Added to this, the mind fhould be variously affected by a rapid change of scenery, or by its different paffions being influenced by frequent and even abrupt tranfitions, otherwise the fame verfification that is suited to one part will be fuited to the whole. For want of attention to thefe confiderations the greateft abfurdities are committed; paftoral, fatyrical, political, religious and moral poetry, are frequently written with all the licentiousness of unauthorized and unmeaning irregularity; though fuch compofitions muft neceffarily be deftitute of the wild enthusiasm of the fublime lyric ode, and often, through the inability of the author, fink into the moft jejune inanity of ftyle. Similar remarks to those above may be made on the monody, or irregular elegy: that kind of grief which is of a calm and fettled nature, as best expreffed by the common elegiac measure of alternate tens; but when, from the death of a miftrefs, a near relation, or friend, or other caufes, the mind is fuppofed to be overwhelmed by the poignancy of its fufferings, and no longer able to retain a command of its faculties; but

vents itself in unavailing complaints, and broken exclamations; forrows of fo exquifite a nature are best expreffed by

"A folemn, ftrange, and mindful air,

'Tis fad by fits, by ftarts 'tis wild."

Perhaps it may be confidered that an enquiry into the Jentiments that characterize modern poetry is more fuited to a moral, than a critical differtation. But the importance of fuch an enquiry will, I truft, prove an excufe for its being here attempted. The most prevailing characteristic of the generality of compofitions in verfe, is a romantic affectation of fenfibility: the writer, difgufted with the dull uniformity of the ordinary tranfactions of life, and with the groffness and vulgarity that pervade the opinions and manners of ordinary mortals, retires, or at least is fuppofed to retire, from the bustle of public life to fome rural folitude, where he can be at liberty to indulge certain reflections, and enjoy certain refined de'licacies of fenfation, which can only be known to hearts of the fineft texture. In fuch a fituation every furrounding object of nature, the departing glories of the fetting fun, the milder radiance of the moon glimmering through the trees, the plaintive notes of the nightingale, and even the murmurs of the western breeze, all confpire to foothe his mind, and diffolve it into tenderness ! Under fuch circumftances the foul delights to indulge mournful ideas. Some afflictive occurrence of his life, the anguish he once felt when the hopes of ardent affection were blasted, the loss of some near relative, or faithful friend, who was the conftant participator of his youthful joys and forrows, or perhaps fome generous fympathifing reflections upon the miferies of others, tend to throw a fhade over the scenes which an active fancy may pourtray, and involve him in that pleafing Imelancholy with which a delicate mind is fo well acquainted; though it is, in its nature and effects, a paradox which the deepest enquirers into human nature can

not

not explain. Under the influence of thefe fenfations he vents his complaints in fonnets, or other trifling effufions, which appear to be produced by a great refinement of fentiment, and an acute fenfibility, rather than by a vigorous and lively imagination. It is far from my intention to condemn, or deride fuch emotions, which I am convinced conftitute fome of the most amiable feelings of our nature. Yet it ought to be the object of confideration, whether the exceffive indulgence of fuch a romantic penfiveness of temper may not tend to undermine the nobleft energies of the foul, and render those who continually delight in the luxury of fighs and tears, a kind of mental valetudinarians, unfit to perform the common duties of life, and incapable of bearing its most ordinary calamities?

But there is another fault too prevalent in the fentiments of modern poetry, that is an unmanly defpondence, and peevith queruloufnefs, which often pervade the compofitions of many of our writers. It is not the privilege of genius to be exempt from misfortune, but they appear to deem it their privilege to trouble the Public with their complaints, forgetting that fuch a kind of writing is the leaft calculated to gain attention, or to afford delight. They may indeed fometimes produce a tranfient tear of sympathy; but if their subjects are always of a local and perfonal nature, and continually involved in the fame cheerless gloom, they must fail to intereft, and their readers will at length turn with a liftlefs difguft from their productions, to those that are better calculated to amufe and inftruct. But their complaints are often attended with reflections that are irreligious and unphilosophical; that are calculated to destroy hope, enervate exertion, and render others as well as themselves the victims of pining difcontent; they paint life in the moft fombre colours, and reprefent man as being formed by his Maker merely for mifery and difappointment, without reflecting that the afflictions which the virtuous are doomed to bear are defigned by VOL. IV.

the