"Spanish poets of prime note have rejected "rime both in longer and fhorter works, as "have also long fince OUR BEST ENGLISH "TRAGEDIES, as a thing of itself, to all ju"dicious ears, trivial and of no true musical delight; which consists only in apt numbers, "fit quantity of fyllables, and the sense variously "drawn out from one verfe into another, not "in the 3 jingling found of like endings, a fault "avoided by the learned ancients both in poetry " and all good oratory. This neglect then of "rime fo little is to be taken for a defect, though "it may seem so perhaps to vulgar readers, "that it rather is to be esteem'd an example fet, "the firft in English, of ancient liberty, reco"vered 66 3. OμOIOTÉREUTα. See Quinctil. 1. IX. c. 3. To the fame purpose Mr. Afcham, in his Scholemafter, p. 194. They wish'd, as Virgil and Horace were not wedded to "follow the faults of former fathers, (a fhrewd marriage "in greater matters) but by right imitation of the perfect "Grecians, had brought poetry to perfectness also in the "Latin tongue; that we Englishmen likewife would ac"knowledge and understand rightfully our rude beggarly riming, brought firft into Italy by Goths and Huns, when "all good verfes, and all good learning too were destroyed "by them; and after carried into France and Germany, "and at last received into England by men of excellent "wit indeed, but of fmall learning, and lefs judgment in "that behalf. But now when men know the difference, "and have the examples both of the best and of the worst; "furely "yered to heroic poem from the troublesome ❝ and modern bondage of riming." With respect to the latter part of the cenfure, of making many new and rough words, it may be very juftly obferved, 66 furely to follow rather the Goths in riming, than the "Greeks in true verfifying, were even to eat acorns with fwine, when we may freely eat wheat bread among "men." These chiming terminations were so industriously avoided by Virgil, that in his whole poem 'tis difficult to find one for in Aen. IX, 634. Cava tempora ferro Trajicit. I, verbis virtutem illude superbis. This play on the words is properly enough put in the mouth of young Afcanius. But these verses have no jingle at all: Hic labor extremus, longar' haec meta viarum. Indeed Homer has, here and there, these fimilar founds and cadences. Ι. έ. 855. Καύμαῖς ἐξ ἀνέμοιο δυσαές ὀρνυμένοιο. But the scarcity of them in fo long a poem plainly fhews, that Homer thought they added no kind of beauty to his verfes. The fame letters repeated fall not under this cenfure; as, Et premere, et láxas fciret dare jussus habénas. 4. See what Horace writes to this purpose of coining new words and of making current the old in his art of 1 obferved, that this liberty, managed with dif cretion and learning, adds a peculiar dignity to the diction: for things are often defpised for no poetry, . 406, &c. &c. And Aristotle in his rhetoric Adamantine chains, I, 48. Aefchyl. Prometh. . 6. Ada- Amber fiream, III, 359. and in Parad. Reg. III, 288. Ambrofial oders, I, 245. Spenc. B. 2. c. 3. §. 22. The Affeffor of his throne, VI, 679. Irenaeus 1. 1. c. 14. N wágEdge Oεe, O Dei affeffor. Nonnus in his paraphr. of St. John, in the beginning, 'Atigors σurbgor iden. Sophocles 1 no other reason than being common. Nor are rough words to be avoided, if the fubject be harsh and rough. The musicians and painters can in form Sophocles in Oed. col. p. 316. Edit. Steph. fpeaks of Juftice, as The afsessor of Jove: Dixn uvede Znvós. So Arrian in Exped. Alex. IV, 9. οἱ πάλαι σοφὸς ἄνδρες τὴν Δίκην πάρεδρον τῷ Διὶ ἐποίησαν. Pindar calls Rhadamanthus, Saturn's affeffor, and Callimachus the poets, Apollo's affeffors. A bevy of fair women, XI, 582. The sportsman's phrase, speaking of quailes. Spencer ufes it very frequent, B. z, c. 8. f. 34. and B. 4. c. 10. f. 4. and B. 5. c. 9. f. 31. And Shakesp. in Hen. VIII. A&t. 1. Arms on armor clashing bray'd horrible difcord, VI, 209. à gr. Cęáxe, clamare. Hom. Il. μ'. 396. Βράχε τεύχεα, fonitum dedere arma. 11. φ'. 387. βράχε δ' εὐρεῖα χθῶν. remugiit verò lata tellus. Shakefp. in K. John Act III. Braying trumpets. In Hamlet A&t I. The kettle-drum and trumpet thus bray out The triumph of his pledge. Spencer, B. 4. c 4. f. 48. Then brilling trumpets loudly 'gan to bray. Sings darkling, III, 39. Sidney's Arcad. p. 684. edit. quart. He came darkling into his chamber. Shakefp. in Midf. A&. II. O wilt thou darkling leave me? In K. Lear, Act I. we were left darkling. In Ant. and Cleop. A& IV. darkling ftand The varying fore of the world. Dulcet Symphonies, I, 712. Shakefp. in Taming of a fhrew. To make a dulcet and a heavenly found. à Lat. dulcis. Ital, dolce, dolciato. form us, what effect difcords have in mufic, and fhades in pictures. Even in profpects (Nature's landskips) how beautifully do rough rocks Or HEARST thou rather pure ethereal stream, III, 7. Hor. f. II. 6. 20. Matutine pater, feu Jane libentius AUDIS. Ye birds That finging up to heaven-gate afcend, V, 198. Shakefp. in Cymb. Act I. Hark, the lark at heaven's gate fings. Horrent arms, II, 513. Virg. Aen. I. Horrentia Martis Arma virumque cano. and Aen. X, 178. borrentibus haftis. Met. from the bristles of animals ftanding erect.. So B. VI, . 82. Briftled with upright beams of rigid fpears. And Virg. XII. Stri&ifque feges mucronibus horret ferrea, i. e. an iron crop briftles with unfheathed fwords. This metaphor Milton has lengthened out into a fimilitude, B. IV. . 979, &c. Hyacinthin locks, IV, 301. Hom. od. ¿'. Κάδδε κάρη Θ Ούλας ἧκε κόμας ὑακινθίνῳ ἄνθει ὁμοίως. When Vapours fir'd IMPRESS THE AIR, IV, 558. Shakesp. in Macbeth, Act V. As eafy may ft thou the intrenchant AIR With thy keen fword IMPRESS. In K. Rich. II. A&. III. He uses the subst. impress: from the Ital. imprefa; ab imprimendo. i. e. a device with a motto; an achievement. From my own windows torn my houfhold coat ; · Raz'd out my IMPRESS, Not |