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Of Satire. among the Romans, are faulty in this respect, and ought to be read with caution.

166

Proper style of satire.

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Benefits of well conducted satire.

The style proper for satire is sometimes grave and animated, inveighing against vice with warmth and earnestness; but that which is pleasant, sportive, and, with becoming raillery, banters men out of their bad dispositions, has generally the best effect, as it seems only to play with their follies, though it omits no opportunity of making them feel the lash. The verses should be smooth and flowing, and the language manly, just, and decent.

Of well-chose words some take not care enough, And think they should be as the subject rough: But satire must be more exactly made, And sharpest thoughts in smoothest words convey'd. DUKE OF BUCKS's Essay.

Satires, either of the jocose or serious kind, may be written in the epistolary manner, or by way of dialogue. Horace, Juvenal, and Persius, have given us examples of both. Nay, some of Horace's satires may, without incongruity, be called epistles, and his epistles satires. But this is obvious to every reader.

Of the facetious kind, the second satire of the second book of Horace imitated by Mr Pope, and Swift's verses on his own death, may be referred to as examples.

As to those satires of the serious kind, for which Juvenal is so much distinguished, the characteristic properties of which are, morality, dignity, and severity; a better example cannot be mentioned than the poem entitled London, written in imitation of the third satire of Juvenal, by Dr Johnson, who has kept up to the spirit and force of the original.

Nor must we omit to mention Dr Young's Love of Fame the Universal Passion, in seven satires; which, though characteristical, abound with morality and good sense. The characters are well selected, the ridicule is high, and the satire well pointed and to the pur

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We have dwelt thus long on the present subject, because there is reason to apprehend, that the benefits arising from well-conducted satire have not been sufficiently considered. A satire may often do more service to the cause of religion and virtue than a sermon; since it gives pleasure, at the same time that it creates fear or indignation, and conveys its sentiments in a manner the most likely to captivate the mind.

Of all the ways that wisest men could find
To mend the age and mortify mankind,
Satire well writ has most successful prov'd,
And cures, because the remedy is lov'd.

DUKE OF BUCKS's Essay. But to produce the desired effect, it must be jocose, free, and impartial, though severe. The satirist should always preserve good humour; and, however keen he cuts, should cut with kindness. When he loses temper, his weapons will be inverted, and the ridicule he threw at others will retort with contempt upon himself; for

the reader will perceive that he is angry and hurt, and of Satire. consider his satire as the effect of malice, not of judgement; and that it is intended rather to wound persons than reform manners.

Rage you must hide, and prejudice lay down: A satyr's smile is sharper than his frown. The best, and indeed the only, method to expose vice and folly effectually, is to turn them to ridicule, and hold them up for public contempt; and as it most offends these objects of satire, so it least hurts ourselves. One passion frequently drives out another; and as we cannot look with indifference on the bad actions of men (for they must excite either our wrath or contempt), it is prudent to give way to that which most oflends vice and folly, and least affects ourselves; and to sneer and laugh, rather than be angry and scold.

168

Burlesque poetry, which is chiefly used by way of Burlesque drollery and ridicule, falls properly to be spoken of poetrySplendid under the head of satire. An excellent example of Shilling this kind is a poem in blank verse, intitled The Splendid Hudibras. Shilling, written by Mr John Philips, which, in the opinion of one of the best judges of the age, is the finest burlesque in the English language. In this poem the author has handled a low subject in the lofty style and numbers of Milton; in which way of writing Mr Philips has been imitated by several, but none have come up to the humour and happy turn of the original. When we read it, we are betrayed into a pleasure that we could not expect; though, at the same time, the sublimity of the style, and gravity of the phrase, seem to chastise that laughter which they provoke.

There is another sort of verse and style, which is most frequently made use of in treating any subject in a ludicrous manner, viz. that which is generally called Hudibrastic, from Butler's admirable poem intitled Hudibras. Almost every one knows, that this poem is a satire upon the authors of our civil dissensions in the reign of King Charles I. wherein the poet has, with abundance of wit and humour, exposed and ridiculed the hypocrisy or blind zeal of those unhappy times. In short, it is a kind of burlesque epic poem, which, for the oddity of the rhymes, the quaintness of the similies, the novelty of the thoughts, and that fine raillery which runs through the whole performance, is not to be paralleled.

SECT. XI. Of the Epigram.

159

THE epigram is a little poem, or composition in verse, Character treating of one thing only, and whose distinguishing of the epicharacters are, brevity, beauty, and point.

The word epigram signifies "inscription;" for epigrams derive their origin from those inscriptions placed by the ancients on their statues, temples, pillars, triumphal arches, and the like; which, at first, were very short, b‹ ing sometimes no more than a single word; but afterwards, increasing their length, they made them in verse, to be the better retained by the memory. This short of writing came at last to be used upon any occasion or subject; and hence the name of epigram has been given to any little copy of verses, without regard to the original application of such poems.

way

Its usual limits are from two to 20 verses, though sometimes it extends to 50; but the shorter, the better it is, and the more perfect, as it partakes more of the

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nature

gram.

Epigram, nature and character of this kind of poem: besides, the epigram, being only a single thought, ought to be expressed in a little compass, or else it loses its force and strength.

170 Of what subjets it admits.

The beauty required in an epigram is an harmony and apt agreement of all its parts, a sweet simplicity, and polite language.

The point is a sharp, lively, unexpected turn of wit, with which an epigram ought to be concluded. There are some critics, indeed, who will not admit the point in an epigram; but require that the thought be equally diffused through the whole poem, which is usually the practice of Catullus, as the former is that of Martial. It is allowed there is more delicacy in the manner of Catullus; but the point is more agreeable to the general taste, and seems to be the chief characteristic of the epigram.

This sort of poem admits of all manner of subjects, provided that brevity, beauty, and point, are preserved; but it is generally employed either in praise or satire.

Though the best epigrams are said to be such as are comprised in two or four verses, we are not to understand it as if none can be perfect which exceed those limits.

Neither the ancients nor moderns have been so scrupulous with respect to the length of their epigrams; but, however, brevity in general is always to be studied in these compositions.

171 Examples of English For examples of good epigrams in the English lanopigrams guage, we shall make choice of several in the different remarkable tastes we have mentioned; some remarkable for their defor their licate turn and simplicity of expression; and others for delicacy, their salt and sharpness, their equivocating pun, or pleasant allusion. In the first place, take that of Mr Pope, said to be written on a glass with the earl of Chesterfield's diamond-pencil.

and

Accept a miracle, instead of wit;

See two dull lines by Stanhope's pencil writ. The beauty of this epigram is more easily seen than described; and it is difficult to determine, whether it does more honour to the poet who wrote it, or to the nobleman for whom the compliment is designed.-The following epigram of Mr Prior is written in the same taste, being a fine encomium on the performance of an excellent painter.

On a Flower, painted by VARELST.
When fam'd Varelst this little wonder drew,
Flora vouchsaf'd the growing work to view;
Finding the painter's science at a stand,
The goddess snatch'd the pencil from his hand,
And, finishing the piece, she smiling said,

Behold one work of mine which ne'er shall fade. Another compliment of this delicate kind he has made Mr Howard in the following epigram.

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'Tis Chloe's eye, and cheek, and lip, and breast: Friend Howard's genius fancy'd all the rest.

Most of Mr Prior's epigrams are of this delicate cast, and have the thought, like those of Catullus, diffused through the whole. Of this kind is his address To CHLOE Weeping.

See, whilst thou weep'st, fair Chloe, see
The world in sympathy with thee.
The cheerful birds no longer sing,
Each drops his head, and hangs his wing.
The clouds have bent their bosom lower,
And shed their sorrow in a shower.
The brooks beyond their lin.its flow,
And louder murmurs speak their wo:
The nymphs and swains adopt thy cares;
They heave thy sighs, and weep thy tears.
Fantastic nymph! that grief should move
Thy heart obdurate against love.

Strange tears! whose pow'r can soften all
But that dear breast on which they fall.

The epigram written on the leaves of a fan by Dr Atterbury, late bishop of Rochester, contains a pretty thought, expressed with ease and conciseness, and closed in a beautiful manner.

On a FAN.

Flavia the least and slightest toy Can with resistless art employ. This fan in meaner hands would prove An engine of small force in love. Yet she, with graceful air and mien, Not to be told or safely seen, Directs its wanton motion so, That it wounds more than Cupid's bow, Gives coolness to the matchless dame, To ev'ry other breast a flame.

Epigram.

173

We shall now select some epigrams of the biting and for their satirical kind, and such as turn upon the pun or equi- point. voque, as the French call it in which sort the point is more conspicuous than in those of the former cha

racter.

The following distich is an admirable epigram, having all the necessary qualities of one, especially point and brevity.

On a Company of bad DANCERS to good Music. How ill the motion with the music suits! So Orpheus fiddled, and so danc'd the brutes. This brings to mind another epigram upon a bad fiddler, which we shall venture to insert merely for the humour of it, and not for any real excellence it contains.

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Epigram

173 Character

Go on, master Paul, nor mind what the world says, They are surely his own for which a man pays.

Some bad writer having taken the liberty to censure Mr Prior, the poet very wittily lashed his impertinence. in this epigram:

While faster than his costive brain indites
Philo's quick hand in flowing letters writes,
His case appears to me like honest Teague's
When he was run away with by his legs.
Phoebus, give Philo o'er himself command;
Quicken his senses, or restrain his hand :
Let him be kept from paper, pen, and ink;
So he may cease to write, and learn to think.

Mr Wesley has given us a pretty epigram, alluding to a well-known text of Scripture on the setting up a monument in Westminster Abbey, to the memory of the ingenious Mr Butler, author of Hudibras.

While Butler, needy wretch, was yet alive,
No generous patron would a dinner give.

See him when starv'd to death, and turn'd to dust,
Presented with a monumental bust !

The poet's fate is here in emblem shown ;
He ask'd for Bread, and he receiv'd a Stone.

We shall close this section with an epigram written on the well known story of Apollo and Daphne, by Mr Smart.

When Phoebus was am'rous and long'd to be rude,
Miss Daphne cried Pish! and ran swift to the wood;
And rather than do such a naughty affair,
She became a fine laurel to deck the god's hair.
The nymph was, no doubt of a cold constitution;
For sure, to turn tree was an odd resolution!

Yet in this she behav'd like a true modern spouse,
For she fled from his arms to distinguish his brows.

SECT. XII. Of the Epitaph.

THESE Compositions generally contain some eulogium of the epi- of the virtues and good qualities of the deceased, and taph. have a turn of seriousness and gravity adapted to the nature of the subject. Their elegance consists in a nervous and expressive brevity; and sometimes they are closed with an epigrammatic point. In these compositions, no mere epithet (properly so called) should be admitted for here illustration would impair the strength, and render the sentiment too diffuse and languid. Words that are synonymous are also to be rejected.

Though the true characteristic of the epitaph is seriousness and gravity, yet we may find many that are jocose and ludicrous: some likewise have true metre and rhyme; while others are between prose and verse, without any certain measure, though the words are truly poetical; and the beauty of this last sort is generally heightened by an apt and judicious antithesis. We shall give examples of each.

The following epitaph on Sir Philip Sydney's sister, the countess of Pembroke, said to be written by the famous Ben Jonson, is remarkable for the noble thought with which it concludes.

On MARY Countess-dowager of PEMBROKE.

Underneath this marble hearse,
Lies the subject of all verse,
Sidney's sister, Pembroke's mother:
Death, ere thou hast kill' another
Fair, and learn'd, and good as she,
Time shall throw a dart at thee.

Take another epitaph of Ben Johnson's, on a beautiful and virtuous lady, which has been deservedly admired by very good judges.

Underneath this stone doth lie
As much virtue as could die. ;
Which when alive did vigour give
To as much beauty as could live.

The following epitaph by Dr Samuel Johnson, on a musician much celebrated for his performance, will bear a comparison with these, or perhaps with any thing of the kind in the English language.

Philips? whose touch harmonious could remove
The pangs of guilty pow'r and hapless love,
Rest here, distrest by poverty no more;
Find here that calm thou gav'st so oft before;
Sleep undisturb'd within this peaceful shrine,
Till angels wake thee with a note like thine.

It is the just observation of an eminent critic, that the best subject for epitaphs is private virtue; virtue exerted in the same circumstances in which the bulk of mankind are placed, and which, therefore, may admit of many imitators. He that has delivered his country from oppression, or freed the world from ignorance and error, besides that he stands in no need of monumental panegyric, can excite the emulation of a very small. number. The bare name of such men answers every purpose of a long inscription, because their achievements are universally known, and their fame is immortal.— But the virtues of him who has repelled the temptations of poverty, and disdained to free himself from distress at the expence of his honour or bis conscience, as they were practised in private, are fit to be told, because they may animate multitudes to the same firmness of heart and steadiness of resolution. On this account,. there are few epitaphs of more value than the following,. which was written by Pope on Mrs Corbet, who died of a cancer in her breast.

Here rests a woman, good without pretence,
Blest with plain-reason, and with sober sense;
No conquest she, but o'er herself desir'd;
No arts essay'd, but not to be admir'd.
Passion and pride were to her soul unknown,
Convinc'd that virtue only is our own.
So unaffected, so compos'd a mind,
So firm, yet soft, so strong, yet so refin'd,
Heav'n, as its purest gold, by tortures try'd;
The saint sustain'd it, but the woman dy'd.

This epitaph, as well as the second quoted from Berr Johnson, has indeed one fault; the name is omitted. The end of an epitaph is to convey some account of the dead; and to what purpose is any thing told of him

whose

Epitaph,

174 Epitaphs in verse, with re

marks up

on them.

Epitaph. whose name is concealed? The name, it is true, may be inscribed by itself upon the stone; but such a shift of the poet is like that of an unskilful painter, who is obliged to make his purpose known by adventitious help.

175

Epitaphs in prose encomiastic and

Amongst the epitaphs of a punning and ludicrous cast, we know of none prettier than that which is said to have been written by Mr Prior on himself, wherein he is pleasantly satirical upon the folly of those who value themselves upon account of the long series of ancestors through which they can trace their pedigree.

Nobles and heralds, by your leave,

Here lie the bones of Matthew Prior,
The son of Adam and of Eve:

Let Bourbon or Nassau go higher.

The following epitaph on a miser contains a good. caution and an agreeable raillery.

Reader, beware immod'rate love of pelf:

Here lies the worst of thieves, who robb'd himself.

But Dr Swift's epitaph on the same subject is a masterpiece of the kind.

Beneath this verdant hillock lies
Demer, the wealthy and the wise.
His heirs, that he might safely rest,
Have put his carcase in a chest:
The very chest, in which, they say,
His other Self, his money, lay.
And if his heirs continue kind
To that dear self he left behind,
I dare believe that four in five
Will think his better half alive.

We shall give but one example more of this kind which is a merry epitaph on an old fiddler, who was remarkable (we may suppose) for beating time to his own music.

On STEPHEN the Fiddler.

Stephen and time are now both even;

Stephen beat time, now time's beat Stephen.

We are come now to that sort of epitaph which rejects rhyme, and has no certain and determinate measure; but where the diction must be pure and strong, every word have weight, and the antithesis be preserved in a clear and direct opposition. We cannot give a better example of this sort of epitaph than that on the tomb of Mr Pulteney in the cloisters of Westminster-abbey.

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Foreign and Domestic ;

In most the backward Fruit of tedious Experience, In him the early acquisition of undissipated Youth. He serv'd the Court several Years: Abroad, in the auspicious reign of Queen Anne; At home, in the reign of that excellent prince K. George I. He serv'd his Country always,

At Court independent,

In the Senate unbiass'd,

At every age, and in every Station,
This was the bent of his generous Soul,
This the business of his laborious Life.

Public Men, and Public Things,
He judged by one constant Standard,
The True Interest of Britain:
He made no other Distinction of Party,
He abhorred all other.

Gentle, humane, disinterested, beneficent,
He created no Enemies on his own Account:
Firm, determined, inflexible,

He feared none he could create in the Cause of Britain.
Reader,

In this Misfortune of thy Country lament thy own:
For know

The Loss of so much private Virtue
Is a public Calamity.

Epitaph.

176

That poignant satire, as well as extravagant praise, satirical. may be conveyed in this manner, will be seen by the following epitaph written by Dr Arbuthnot on Francis Charteris; which is too well known, and too much admired, to need our commendation.

HERE continueth to rot

The body of FRANCIS CHARTERIS,
Who with an INFLEXIBLE CONSTANCY,
And INIMITABLE UNIFORMITY of Life,
PERSISTED,

In spite of AGE and INFIRMITIES,
In the Practice of EVERY HUMAN VICE,
Excepting PRODIGALITY and HYPOCRISY:
His insatiable AVARICE exempted him from the first,
His matchless IMPUDENCE from the second.
Nor was he more singular

In the undeviating Pravity of his Manners,
Than successful

In Accumulating WEALTH:
For, without TRADE or PROFESSION,
Without TRUST of PUBLIC MONEY,
And without BRIBE-WORTHY SERVICE,
He acquired, or more properly created,
A MINISTERIAL ESTATE.

He was the only Person of his Time
Who could CHEAT without the Mask of HONESTY;
Retain his Primeval MEANNESS
When possessed of TEN THOUSAND a-year;
And having daily deserved the GIBBET for what he did,
Was at last condemned to it for what he could not do.
Oh indignant reader!

Think not his Life useless to Mankind;
PROVIDENCE Conniv'd at his execrable designs,
To give to After-ages

A conspicuous PROOF and EXAMPLE

Of how small Estimation is EXORBITANT WEALTH

In the Sight of GOD,

He gain'd a complete Knowledge of the state of Britain, By His bestowing it on the most UNWORTHY of All

MORTALS.

Epitaph.

177 Essentials of verse.

178

of pauses.

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On this subject it is meant to confine our inquiry to Latin or Greek hexameters, and to French and English heroic verse; as the observations we shall have occasion to make, may, with proper variations, be easily transferred to the composition of other sorts of verse.

Before entering upon particulars, it must be premised in general, that to verse of every kind five things are of importance. 1st, The number of syllables that compose a line. 2d, the different lengths of syllables, i. c. the difference of time taken in pronouncing. 3d, The arrangement of these syllables combined in words. 4th, The pauses or stops in pronouncing. 5th, Pronouncing syllables in a high or a low tone. The three first mentioned are obviously essential to verse: if any of them be wanting, there cannot be that higher degree of melody which distinguisheth verse from prose. To give a just notion of the fourth, it must be observed, that pauses are necessary for three different purposes: Regulation one, to separate periods, and members of the same period, according to the sense: another, to improve the melody of verse and the last to afford opportunity for drawing breath in reading. A pause of the first kind is variable, being long or short, frequent or less frequent, as the sense requires. A pause of the second kind being determined by the melody, is in no degree arbitrary. The last sort is in a measure arbitrary, depending on the reader's command of breath. But as one cannot read with grace, unless, for drawing breath, opportunity be taken of a pause in the sense or in the melody, this pause ought never to be distinguished from the others; and for that reason shall be laid aside. With respect then to the pauses of sense and of melody, it may be affirmed without hesitation, that their coincidence in verse is a capital beauty: but as it cannot be expected, in a long work especially, that every line should be so perfect; we shall afterward have occasion to see, that unless the reader be uncommonly skilful, the pause necessary for the sense must often, in some degree, be sacrificed to the verse-pause, and the latter sometimes to the former.

The pronouncing syllables in a high or low tone con

tributes also to melody. In reading, whether verse or prose, a certain tone is assumed, which may be called the key-note; and in that tone the bulk of the words are sounded. Sometimes to humour the sense, and sometimes the melody, a particular syllable is sounded in a higher tone, and this is termed accenting a syllable, or gracing it with an accent. Opposed to the accent is the cadence, which, however, being entirely regulated by the sense, hath no peculiar relation to verse. dence is a falling of the voice below the key-note at the close of every period; and so little is it essential to verse, that in correct reading the final syllable of every line is accented, that syllable only excepted which closes the period, where the sense requires a cadence.

The ca

Epitaph.

179

Though the five requisites above mentioned enter the composition of every species of verse, they are however governed by different rules, peculiar to each species. Upon quantity only, one general observation may be Quantity. premised, because it is applicable to every species of verse. That syllables, with respect to the time taken in pronouncing, are long or short; two short syllables, with respect to time, being precisely equal to a long one. These two lengths are essential to verse of all kinds; and to no verse, it is believed, is a greater variety of time necessary in pronouncing syllables. The voice indeed is frequently made to rest longer than usual upon a word that bears an important signification; but this is done to humour the sense, and is not necessary for melody. A thing not more necessary for melody occurs with respect to accenting, similar to that now mentioned: A word signifying any thing humble, low, or dejected, is naturally, in prose as well as in verse, pronounced in a tone below the key-note.

We are now sufficiently prepared for particulars; beginning with Latin or Greek hexameter, which are the same. The observations upon this species of verse will come under the four following heads: number, arrangement, pause, and accent; for as to quantity, what is observed above may suffice.

I. HEXAMETER

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