rated, are but fo many ways of departing from the usual and fimpler forms of speech, without neglecting too much the grace of eafe and per fpicuity; in which well-tempered licence, one of the greatest charms of all poetry, but efpecially of Shakespeare's poetry, confifts; not that he was always and every where fo happy, as in the inftances given above. His expreffion fometimes, and by the very means here exemplified, becomes hard, obscure, and unnatural. This is the extreme on the other fide. But in general, we may fay, that he hath either followed the direction of Horace very ably, or hath hit upon. his rule very happily. We are not perhaps to expect the fame ability, or good fortune, from others. Novelty is a charm which nothing can excuse the want of, in works of entertainment. And the neceffity of preventing the tedium arifing from hacknied expreffion is fo inftant, that those who are neither capable of prefcribing to themselves this rule. of the callida junctura, or of following it when prescribed by others, are yet inclined to ape it by fome fpurious contrivance; which being flight in itself will foon become liable to excefs, and ridiculous by its abfurdity. I have a remarkable inftance in view, with which the reader will not be displeased that I conclude this long note, t About About the middle of the laft century, one of the most common of these mimic efforts was the endless multiplication of epithets; which foon made their poetry at once both stiff and nervelefs. When frequent and exceffive use had made this expedient ridiculous as well as cheap, they tried another, its very oppofite, the rejection of all epithets; and fo of languid poetry, made rigid profe. This too had its day. A dramatic poet of that time has expofed thefe oppofite follies with much humour. A character of fense and pleafantry is made to interrogate a poetaster in the following manner. GOLDSWORTH. Mafter CAPERWIT, before you read, pray tell me, Have your verfes any ADJECTIVES? CAPERWIT. Adjectives! Would you have a poem without Adjectives? They are the flow'rs, the grace of all our language; A well-chofen Epithete doth give new Soule And make the Gallant melt with apprehenfion The Subftantive itself cannot fubfift Without an Adjective. These words would found more full, methinks, that are not So larded: and, if I might counsel you, You should compofe a Sonnet, cleane without them. A row of ftately SUBSTANTIVES would march, Like Switzers, and bear all the field before them; Carry their weight, fhew fair, like DEEDS enroll'd; Not WRITS, that are firft made, and after fill'd: Thence firft came up the title of BLANK verfe You know, Sir, what Blank fignifies? When the Senfe First fram'd, is tied with Adjectives, like Points, And could not hold together without wedges. Hang't, 'tis Pedanticke, vulgar Poetry. Let children, when they verfifye, stick here And there thefe pidling words, for want of matter; POETS write masculine numbers. CAPERWIT. CAPERWIT. You have given me a pretty hint: 'Tis NEW. SHIRLEY'S Chances, or Love in a Maze. 54. CECILIO PLAUTOQUE DABIT ROMANUS, ADEMPTUM VIRGILIO VARIOQUE?] The queftion is but reafonable. Yet the answer will not be to the fatisfaction of him that puts it. This humour, we may obferve, holds here in England, as it did formerlyat Rome; and will, I suppose, hold every-where, under the fame circumftances. Cæcilius and Plautus were allowed to coin, but not Virgil and Varius. The fame indulgence our authors had at the reftoration of letters; but it is denied to our prefent writers. The reason is plainly this. While arts are refining or reviving, the greater part are forced, and all are content, to be learners. When they are grown to their usual height, all affect to be teachers. With this affectation, a certain envy, as the poet obferves, cur adquirere pauca, Si poffum, invideor - infinuates itself; which is for reftraining the privileges of writers, to all of whom every reader is now become a rival. Whereas men, under the first character of learners, are glad to encourage every thing that makes for their inftruction. But, whatever offence may be taken at this practice, good writers, as they safely may, should dare to venture upon it. A perfect language is a chimæra. In every state of it there will frequently be occafion, fometimes a neceffity, to hazard a new word. And let not a great genius be discouraged, by the faftidious delicacy of his age, from a fober use of this privilege. Let him, as the poet directs, Command old words, that long have slept, to wake, Words, that wife BACON, or brave RALEGH fpake; Or bid the new be English ages hence, For USE will father what's begot by SENSE. This too was the conftant language of ancient criticism." Audendum tamen; namque, ut ait Cicero, etiam quæ primò dura visa sunt, ufu molliuntur." Quinctil. 1. i. c. 5. 70. MULTA RENASCENTUR, QUAE JAM CECIDERE.] This revival of old words is one of those niceties in composition, not to be attempted by any but great mafters. It may be done two ways; 1. by restoring such terms, as are grown entirely obfolete; or, 2. by selecting out of VOL. I. F thofe, |