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words, which disappoint the ear, and destroy the energy of the line.

His combination of different measures is sometimes dissonant and unpleasing; he joins verses together, of which the former does not slide easily into the latter.

The words do and did, which so much degrade in present estimation the line that admits them, were in the time of Cowley little censured or avoided : how often he used them, and with how bad an effect, at least to our ears, will appear by a pallage, in which every reader will lament to see just and noble thoughts defrauded of their praise by inelegance of language ;

Where honour or where conscience does not

No other law shall shackle me.

Slave to myself I ne'er will be ;*
Nor shall my future actions be confin'd

By my own present mind.
Who, by resolves and vows engag'd does

For days, that yet belong to fate,
Does like an unthrift mortgage his estate,

Before it falls into his hand,

The bondman of the cloister so,
All that he does receive does always owe.
And still as Time come in, it goes away,

Not to enjoy, but debts to pay.
Unhappy Nave, and pupil to a bell !
Which his hours' work as well as hours does

tell ;
Unhappy till the last, the kind releasing

His heroick lines are often formed of monosyllables ; but yet they are sometimes sweet and sonorous.

He says of the Messiah, Round the whole earth his dreaded name shall

sound, And reach to worlds that must not yet be found.

In another place, of David,

Yet bid him go securely, when he sends ;
'Tis Saul that is bis foe, and we his friends.
The man who has his God, no aid can lack,
And we who bid him go, will bring him back.

He did not write without attempting an improved and scientifick versification ; of which it will be best to give his own account subjoined to this line,

Nor can the glory contain itself in th

endless space.

“ I am sorry that it is necessary to admo“ nifh the most part of readers, that it is not “ by negligence that this verse is so loose, long, “ and, as it were, vast; it is to paint in the “ number the nature of the thing which it “ describes, which I would have observed in “ divers other places of this poem, that else “ will pass for very careless verses: as before,

And over-runs the neighb'ring fields with violent course.

“ In the second book ; Down a precipice deep, down be cast them all" —And, And fell a-down his shoulders with loose care.

« In the third,

Brass was his helmet, his boots brass, and o'er
His breast a thick plate of brass be wore.

" In the fourth,

Like some fair pine oer-looking all thignobler


« And, Some from

the rocks cast themselves down head


“ And many more: but it is enough to in« stance in a few, The thing is, that the dif“ position of words and numbers thould be “ such, as that, out of the order and sound “ of them, the things themselves may be re“ presented. This the Greeks were not so ac“ curate as to bind themselves to ; neither “ have our English poets observed it, for aught “ I can find. The Latins (qui mufas volunt feveriores) sometimes did it, and their prince, “ Virgil, always : in whom the examples are “ innumerable, and taken notice of by all “ judicious men, so that it is superfluous to « collect them.”

I know not whether he has, in many of these instances, attained the representation or resemblance that he purposes. Verse can imitate only sound and motion. A boundless verse, a headlóng verse, and a verse of brass or of strong brass, seem to comprise very incongruous and unsociable ideas. What there is peculiar in the sound of the line expressing loose care, I cannot discover ; nor why the pine is taller in an Alexandrine than in ten syllables.

But, not to defraud him of his due praise, he has given one example of representative versification, which perhaps no other English line can equal :

Begin, be bold, and venture to be wise.
He who defers this work from day to day,
Does on a river's bank expecting stay
Till the whole stream that stopp'd him shall

be gone,
Which runs, and as it runs, for ever shall run

on. Cowley was, I believe, the first poet that mingled Alexandrines at pleasure with the common heroick of ten fyllables, and from him Dryden borrowed the practice, whether ornamental or licentious. He considered the verse of twelve syllables as elevated and majestick, and has therefore deviated into that measure when he supposes the voice heard of the Supreme Being. - The Author of the Davideis is commended

by Dryden for having written it in couplets, because he discovered that any staff was too lypical for an heroic poem; but this seems to

have been known before by Mey and Sandys, the translators of the Pharsalia and the Metamorphoses,

In the Davideis. are some hemiftichs, or verses left imperfect by the author, in imitation of Virgil, whom he supposes not to have intended to complete them: that this opinion is erroneous may be probably concluded, because this truncation is imitated by no subsequent Roman poet ; because Virgil himself filled up one broken line in the heat of recitation; because in one the sense is now unfinished; and because all that can be done by a broken verse, a line intersected by a cesura and a full stop will equally effect.

Of triplets in his Davideis he makes no use, and perhaps did not at first think them allowable; but he appears afterwards to have changed his mind, for in the verses on the government of Cromwel he inserts them liberal. ly with great happiness.

After so much criticism on his Poems, the Eslays which accompany them must not be forgotten. What is said by Sprat of his conversation, that no man could draw from it any suspicion of his excellence in poetry, may be applied to these compositions. No author ever kept his verse and his prose at a greater distance from each other. His thoughts are natural, and his file has a smooth and placid equability, which has never yet obtained its due commendation. Nothing is far-sought, or hard-laboured ; but all is easy without feebleness, and familiar without grossness.

It has been observed by Felton, in his Essay on the Classicks, that Cowley was beloved by

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