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The diction of this poem is groffly familiar, and the numbers purpofely neglected, except in a few places where the thoughts by their native excellence fecure themselves from violation, being fuch as mean language cannot exprefs. The mode of verfification has been blamed by Dryden, who regrets that the heroic measure was not rather chofen. To the critical fentence of Dryden the highest reverence would be due, were not his decifions often precipitate, and his opinions immaWhen he wished to change the meafure, he probably would have been willing to change more. If he intended that, when the numbers were heroic, the diction fhould ftill remain vulgar, he planned a very heterogeneous and unnatural compofition. If he preferred a general ftateliness both of found and words, he can be only understood to wish Butler had undertaken a different work.

ture.

The meafure is quick, fpritely, and collo quial, fuitable to the vulgarity of the words and the levity of the fentiments. But fuch numbers and fuch diction can gain regard only when they are ufed by a writer whofe

vigour of fancy and copioufnefs of knowledge entitle him to contempt of ornaments, and who, in confidence of the novelty and juftnefs of his conceptions, can afford to throw metaphors and epithets away. To another that conveys common thoughts in careless verfification, it will only be faid, “ Pauper videri Cinna vult, & eft pauper." The meaning and diction will be worthy of each other, and criticifm may justly doom them to perifh together.

Nor even though another Butler should arife, would another Hudibras obtain the fame regard. Burlesque confifts in a difproportion between the style and the fentiments, or between the adventitious fentiments and the fundamental fubject. It therefore, like all bodies compounded of heterogeneous parts, contains in it a principle of corruption. All difproportion is unnatural; and from what is unnatural we can derive only the pleasure which novelty produces. We admire it awhile as a strange thing; but when it is no longer ftrange, we perceive its deformity. It is a kind of artifice, which by frequene

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repetition detects itself; and the reader, learning in time what he is to expect, lays down his book, as the fpectator turns away from a fecond exhibition of thofe tricks, of which the only use is to fhew, that they can be played.

ROCHES

ROCHESTER.

OHN WILMOT, afterwards Earl of

JOF

Rochester, the son of Henry Earl of Rochefter, better known by the title of Lord Wilmot, fo often mentioned in Clarendon's History, was born April 10, 1647, at Ditchley in Oxfordshire. After a grammatical education at the school of Burford, he entered a nobleman into Wadham College in 1659, only twelve years old; and in 1661, at fourteen, was, with fome other perfons of high rank, made mafter of arts by Lord Clarendon in perfon.

He travelled afterwards into France and Italy; and, at his return, devoted himself to the Court. In 1665 he went to sea with Sandwich, and distinguished himself at Ber

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gen by uncommon intrepidity; and the next fummer ferved again on board Sir Edward Spragge, who, in the heat of the engagement, having a meffage of reproof to fend to one of his captains, could find no man ready to carry it but Wilmot, who, in an open boat, went and returned amidst the storm of fhot.

But his reputation for bravery was not lafting; he was reproached with flinking away in ftreet quarrels, and leaving his companions to shift as they could without him; and Sheffield Duke of Buckingham has left a story of his refufal to fight him.

He had very early an inclination to intemperance, which he totally fubdued in his travels; but, when he became a courtier, he unhappily addicted himself to diffolute and vitious company, by which his principles were corrupted, and his manners depraved. He loft all fenfe of religious reftraint; and, finding it not convenient to admit the autho rity of laws which he was refolved not to obey, fheltered his wickednefs behind infidelity.

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