this than of epigrams generally that, although they are intended like the lancet, to be used pointedly for the benefit of the sufferer, and the instruction of the looker on, they are too often like a splinter, which irritates but does not heal a wound. "A true epigram should have many graces about its point, fine as those fair angels, who, legends say, could dance together by thousands on the thin end of a needle. All depends upon the spirit in which they are written." Dr. South called a good Epigram the masterpiece of man. This assertion admits of some reservation, for though there be required in the Epigram the same unity of design, the same regular disposition of parts, the same convergence to a given point as in an epic poem, and though it be as perfect of its kind, still the genius requisite for the latter composition must of necessity be of much higher intellectual power than that for the former. Doubtless truth and simplicity should be the basis of an Epigram; yet we think the severe rules of Addison or Boileau are more honoured in the breach than the observance. A striking antithesis, a happy allusion, a witty or humorous expression, or even at times a pleasant ambiguity, will strike us with more agreeable surprise, sooner provoke a laugh, and exhibit the truth and lesson in a stronger and clearer light, than the most strict and standard Epigram.

A modern wit, the Rev. Thomas Warton, has given his idea of what an Epigram should be in the following:

"One day, in Christ-Church meadows walking,

Of poetry and such things talking,
Says Ralph, a merry wag,
'An Epigram, if right and good,
In all its circumstances should
Be like a jelly-bag.'

"Your simile, I own, is new,

But how dost make it out?' said Hugh,

Quoth Ralph, 'I'll tell thee, friend:
Make it at top both wide and fit

To hold a budget-full of wit,

And point it at the end.'"

There is another quality equally necessary to a good Epigram, with brevity and point, that is, smoothness of versification, without which the most terse and witty Epigram will give but little pleasure. In these literary gems, as in the diamond, the least roughness or flaw depreciates the value.

"The Athenæum."

The following Receipt to make an Epigram is by the Right Hon. Lord Hervey :

"A pleasing subject first with care provide;
Your matter must with nature be supplied.
Nervous your diction; be your measure long,
Nor fear your verse too stiff, its sense be strong.
In proper places proper numbers use,
And now the quicker, now the slower choose;
Too soon the dactyl the performance ends;
But the slow spondee, coming thoughts suspends.
Your last attention on the sting bestow;

To that your good or ill success you'll owe;

For there not wit alone must shine, but humour show.
Observing these, your Epigram's completed;

Nor fear 'twill tire, though seven times repeated."

Epigrams may be considered as satirical, panegyrical, sentimental or humorous poems, condensed and epitomized, designed to encourage the practice of virtue by applause, to deter from vice by censure and ridicule, and to give pleasure by the depth of sentiment or humour they discover and, let us add, their forcible and concise mode of expression may be found of use in forming and improving taste and style in composition and conversation.

In the selection of the following from accumulated thousands, preference has been given in this, as in other subjects treated of in this series, to the more rare, eccentric, and curious. Thus it is that comparatively few of those chaste and elegant Greek Epigrams so distinguished for their natural beauty, sweetness, and lofty sentiment, will be found here, and also because there are already extant several collections of translations from "Greek Anthology," viz., those of Bland, Merivale, Dr. Wellesley, and, lastly, that of Major R. Guthrie Macgregor, (1864,) all of which exhibit the truth and scholarship of the poet: the last named being the most comprehensive.

To those requiring a chronological arrangement we confidently recommend Mr. Booth's "Epigrams, Ancient and Modern." 2nd Edit.

Endeavour has been made to classify and arrange the selection; but should it be found that, amidst such a variety of specimens, there has been a little unavoidable incongruity of grouping, the Author trusts that lenity will be shown to him by his readers.

The following is the mode of classification adopted, viz., four divisions:-Witty and Humorous, Satirical, Panegyrical, and Sentimental, Moral and Philosophical; and these have been subdivided and arranged according to the immediate subjects under notice. One other division might have been expected to be found, viz., Monu

mental; but the numbers and variety of epigrams in this division are so great that it has been obligatory upon us to include them in a volume, which, under the title "Epitaphs," will form the third of "The Wild Garland."

As a representative, we have taken a small posy, which, multum in parvo, exhibits the light and shade, the ornamental and the useful, the sweet and the sour, the graceful and the rude, the sting and its antidote, viz.,—the rose and the thorn, the buttercup, the crocus and the hyacinth, the nettle and the dock

"There is a lesson in each flower,

A story in each stream and bower."
"How does the little Epigram delight
And charm us with its miniature of wit!
While tedious authors give the reader pain,
Weary his thought, and make him toil in vain;
In lesser volumes we more pleasure find;
And what diverts still best informs the mind."

Epigrams.

"Laugh, joke, and be merry, whenever you can,
For no one delights in a sorrowful man."

WITTY AND HUMOROUS.

LITERARY.

TO THE READER.

THOU that readest these, if thou commend'st them all,
Thou'st too much milk; if none, thou'st too much gall.

ON MOORE'S TRANSLATION OF ANACREON.

О! mourn not for Anacreon dead;
Oh! weep not for Anacreon fled;

The lyre still breathes he touched before,
For we have one Anacreon Moore.

ERSKINE.

ON MOORE THE POET.

WHEN Limerick once in idle whim,
Moore, as her member, gaily courted,
The boys, for fun's sake, asked of him
To state what party he supported;
When thus to them the answer ran,
At least 'tis thus I've heard the story,
"I'm of no party as a man,

But as a poet, am-a-tory."

TOM MOORE.

A LADY, having found a copy of Little's Poems under the pillow of her maid's bed, wrote on it in pencil:

You read Little I guess;

I wish you'd read less.

Under which, inspired by the march of intellect, the maid wrote: I read Little before,

Now I mean to read Moore.

IMPROMPTU,

ON SEEING FLOWERDEW'S POEMS ON THE SAME SHELF WITH THE "FARMER'S BOY," AT BLOOMFIELD'S COTTAGE.

THOUGH Scant be the Poet's domain,
Most ample, I know, is his mind;
The applauses of all he can gain,
His applauses to none are confined.
Hence, even his book-stored retreat

This liberal thought seems to yield-
That the dew of a flower may be sweet;
Though it match not the bloom of a field.

ON BLOOMFIELD, THE POET.

BLOOMFIELD, thy happy omen'd name
Ensures continuance to thy fame;
Both sense and truth this verdict give,-
While fields shall bloom thy name shall live!

KIRKE WHITE.

ON CHARLES DICKENS, WHOSE FIRST WORK WAS

"SKETCHES BY BOZ."

WHO the dickens "Boz" could be,

Puzzled many a learned elf;

Till time unveiled the mystery,

And "Boz" appeared as Dickens' self.

ON DR. PARR'S PLACE AS READER TO QUEEN CAROLINE BEING SUPPLIED BY A GENTLEMAN OF THE

NAME OF FELLOWES.

THERE's a diff'rence between

Dr. Parr and the Queen;

For the reason you need not go far:

The Doctor is jealous,

Of certain low Fellowes,

Whom the Queen thinks much above Parr.

ON THE BANKRUPTCY OF A PERSON NAMED HOMER.

THAT Homer should a bankrupt be,

Is not so very Odd-d'ye-see:
If it be true, as I'm instructed,

So Ill-he-had his books conducted.

THE CORRESPONDENT AND THE EDITOR.

A CORRESPONDENT, something new
Transmitting, signed himself X. Q.;

The editor his letter read,

And begg'd he might be X. Q. Z.

HARD WORDS.

QUOTH David to Daniel, "Why is it these scholars
Abuse one another whenever they speak?"

Quoth Daniel to David, "It nat'rally follows

Folks come to hard words if they meddle with Greek!"

F. G. SAXE.