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to his villa. Rustica is pronounced short, not ac- The peasants show another spring near the mosaic cording to our stress upon-"Usticæ cubantis." | pavement, which they call "Oradina," and which It is more rational to think that we are wrong, than flows down the hills into a tank, or mill-dam, and that the inhabitants of this secluded valley have thence trickles over into the Digentia. changed their tone in this word. The addition of But we must not hope the consonant prefixed is nothing: yet it is necessary to be aware that Rustica may be a modern name which the peasants may have caught from the antiquaries.

"To trace the Muses upwards to their spring,"

The villa, or the mosaic, is in a vineyard on a knoll covered with chestnut-trees. A stream uns

by exploring the windings of the romantic valley in search of the Bandusian fountain. It seems strange that any one should have thought Bandusia a fountain of the Digentia-Horace has not let drop a word of it; and this immortal spring has in fact been discovered in possession of the holders of many good things in Italy, the monks. It was attached to the church of St. Gervais and Protais, near Venusia, where it was most likely to be found. (2) We shall not be so lucky as a late traveller in finding the occasional pine still pendent on the poetic villa. There is not a pine in the whole valley, but there are two cypresses, which he evidently took, or mistook, for the tree in the

down the valley; and although it is not true, as said in the guide-books, that this stream is called Licenza, yet there is a village on a rock at the head of the valley which is so denominated, and which may have taken its name from the Digentia. Licenza contains 700 inhabitants. On a peak a little way beyond is Civitella, containing 300. On the banks of the Anio, a little before you turn up into Valle Rustica, to the left, about an hour from the villa, is a town called Vicovaro, another favour-ode. (3) The truth is, that the pine is now, as it able coincidence with the Varia of the poet. At was in the days of Virgil, a garden tree, and it was the end of the valley, towards the Anio, there is a not at all likely to be found in the craggy acclibare hill, crowned with a little town called Bardela.vities of the valley of Rustica. Horace probably At the foot of this hill the rivulet of Licenza flows, had one of them in the orchard close above his and is almost absorbed in a wide sandy bed before farm, immediately overshadowing his villa, not on it reaches the Anio. Nothing can be more fortunate the rocky heights at some distance from his abode. for the lines of the poet, whether in a metaphorical The tourist may have easily supposed himself to have seen this pine figured in the above cypresses for the orange and lemon trees which throw such a bloom over his description of the royal gardens at Naples, unless they have been since displaced, were assuredly only acacias and other common garder shrubs. (4)

or direct sense :—

"Me quotiens reficit gelidus Digentia rivus,
Quem Mandela bibit rugosus frigore pagus."

The stream is clear high up the valley, but, before it reaches the hill of Bardela, looks green and yellow, like a sulphur rivulet.

Rocca Giovane, a ruined village in the hills, half an hour's walk from the vineyard where the pavement is shown, does seem to be the site of the fane of Vacuna, and an inscription found there tells that this temple of the Sabine Victory was repaired by Vespasian. (1) With these helps, and a position corresponding exactly to every thing which the poet has told us of his retreat, we may feel tolerably secure of our site.

The hill which should be Lucretilis is called Campanile, and, by following up the rivulet to the pretended Bandusia, you come to the roots of the higher mountain Gennaro. Singularly enough, the only spot of ploughed land in the whole valley is on the knoll where this Bandusia rises:

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XXXII.

EUSTACE'S CLASSICAL TOUR.

The extreme disappointment experienced by choosing the Classical Tourist as a guide in Ital must be allowed to find vent in a few observations which, it is asserted without fear of contradiction will be confirmed by every one who has selected the same conductor through the same country. Thi author is in fact one of the most inaccurate, unsatis factory writers that have in our times attained temporary reputation, and is very seldom to be trusted even when he speaks of objects which he must be presumed to have seen. His errors, from the simple exaggeration to the downright mis-statement, are so frequent as to induce a suspicion tha he had either never visited the spots described, o

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bad trusted to the fidelity of former writers. In- ment, or governors, is meant to be here offered; deed, the Classical Tour has every characteristic but it is stated as an incontrovertible fact, that the of a mere compilation of former notices, strung change operated, either by the address of the late together upon a very slender thread of personal imperial system, or by the disappointment of every observation, and swelled out by those decorations expectation by those who have succeeded to the which are so easily supplied by a systematic adop- Italian thrones, has been so considerable, and is so tion of all the common-places of praise, applied to apparent, as not only to put Mr. Eustace's antigalevery thing, and therefore signifying nothing. lican philippics entirely out of date, but even to

The style which one person thinks cloggy and throw some suspicion upon the competency and cumbrous, and unsuitable, may be to the taste of candour of the author himself. A remarkable others; and such may experience some salutary example may be found in the instance of Bologna, excitement in ploughing through the periods of the over whose papal attachments, and consequent deClassical Tour. It must be said, however, that solation, the tourist pours forth such strains of conpolish and weight are apt to beget an expectation dolence and revenge, made louder by the borrowed of value, It is amongst the pains of the damned to trumpet of Mr. Burke. Now Bologna is at this toil up a climax with a huge round stone. moment, and has been for some years, notorious

The tourist had the choice of his words, but there amongst the states of Italy for its attachment to was no such latitude allowed to that of his senti- revolutionary principles, and was almost the only ments. The love of virtue and of liberty, which city which made any demonstrations in favour of must have distinguished the character, certainly the unfortunate Murat. This change may, however, adorns the pages of Mr. Eustace; and the gentle have been made since Mr. Eustace visited this counmanly spirit, so recommendatory either in an author try; but the traveller whom he has thrilled with or his productions, is very conspicuous throughout horror at the projected stripping of the copper from the Classical Tour. But these generous qualities the cupola of St. Peter's, must be much relieved to are the foliage of such a performance, and may be find that sacrilege out of the power of the French, spread about it so prominently and profusely, as to or any other plunderers, the cupola being covered embarrass those who wish to see and find the fruit with lead. (1) at hand. The unction of the divine, and the ex- If the conspiring voice of otherwise rival critics

hortations of the moralist, may have made this work had not given considerable currency to the Classomething more and better than a book of traveis, sical Tour, it would have been unnecessary to but they have not made it a book of travels; and warn the reader, that however it may adorn his this observation applies more especially to that en- library, it will be of little or no service to bim in ticing method of instruction conveyed by the perpe- his carriage; and if the judgment of those critics tual introduction of the same Gallic Helot to reel had hithertó been suspended, no attempt would and bluster before the rising generation, and terrify have been made to anticipate their decision. As it it into decency by the display of all the excesses of is, those who stand in the relation of posterity to the Revolution. An animosity against atheists and Mr. Eustace may be permitted to appeal from coregicides in general, and Frenchmen specifically, temporary praises, and are perhaps more likely to may be honourable, and may be useful as a record; be just in proportion as the causes of love and habut that antidote should either be administered in tred are the farther removed. This appeal had, in any work rather than a tour, or, at least, should be some measure, been made before the above remarks served up apart, and not so mixed with the whole were written; for one of the most respectable of the mass of information and reflection, as to give a bit-Florentine publishers, who had been persuaded by terness to every page : for who would choose 10 the repeated inquiries of those on their journey have the antipathies of any man, however just, for southwards to reprint a cheap edition of the clas. his travelling companions ? A tourist, unless he sical Tour, was, by the concurring advice of returnaspires to the credit of prophecy, is not answerable ing travellers, induced to abandon his design, al

for the changes which may take place in the country though he had already arranged his types and paper, which he describes ; but his reader' may very fairly and had struck off one or two of the first sheets. esteem all his political portraits and deductions as The writer of these notes would wish to part so much waste paper, the moment they cease to (like Mr. Gibbon) on good terms with the Pope and assist, and more particularly if they obstruct, his the Cardinals, but he does not think it necessary

to extend the same discreet silence to their humble Neither encomium nor accusation of any govern- partisans. (1) "What, then, will be the astonishment, or rather the horror, that adorn the inside of the edifice, as well as the copper that of my reader, when I inform him......... the French Committee covers the vaults and dome on the outside.” Chap. iv. p. 130, turned its allention to Saint Peter's, and employed a company vol. ii. The story about the jews is positively denied at Rome. of Jews to estimate and purchase the gold, silver, and bronze

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actual survey.

Hints from Horace; (

(1)

BEING AN ALLUSION, IN ENGLISH VERSE, TO THE EPISTLE AD PISONES, DE ARTE POETICA AND INTENDED AS A SEQUEL TO "ENGLISH BARDS AND SCOTCH REVIEWERS.'

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- Ergo fungar vice cotis, acutum
Reddere quæ ferrum valet, exsors ipsa secandi."
Hor. de Arte Poet.
"Rhymes are difficult things-they are stubborn things, sir.
Fielding's Amelia.

HUMANO capiti cervicem pictor equinam
Jungere si velit, et varias inducere plumas,
Undique collatis membris, ut turpiter atrum
Desinat in piscem mulier formosa superne;
Spectatum admissi risum teneatis, amici?
Credite, Pisones, isti tabulæ fore librum

Athens, Capuchin Convent, March 12, 1811 (2).

Not all that forced politeness, which defends

His costly canvass with each flatter'd face,
Abused his art, till Nature, with a blush,
Saw cits grow centaurs underneath his brush?
Or, should some limner join, for show or sale,
A maid of honour to a mermaid's tail?
Or low Dubost (3)-as once the world has seen-
Degrade God's creatures in his graphic spleen?

WHO would not laugh, if Lawrence, hired to grace Fools in their faults, could gag his grinning friends.
Believe me, Moschus, (4) like that picture seems
The book which, sillier than a sick man's dreams,
Displays a crowd of figures incomplete,
Poetic nightmares, without head or feel.

Poets and painters, as all artists (5) know,
May shoot a little with a lengthen'd bow;

(1) Authors are apt, it is said, to estimate their performances more according to the trouble they have cost themselves, than the pleasure they afford to the public; and it is only in this way that we can pretend to account for the extraordinary value which Lord Byron attached, even many long years after they were written, to these Hints from Horace. The business of translating Horace has hitherto been a hopeless one; and notwithstanding the brilliant cleverness of some passages, in both Pope's and Swift's Imitations of him, there had been, on the whole, very little to encourage any one to meddle seriously even with that less difficult department. It is, comparatively, an easy-E. affair to transfer the effect, or something like the effect, of the majestic declamations of Juvenal; but the Horatian satire is cast in a mould of such exquisite delicacy- uniting perfect ease with perfect elegance throughout-as has hitherto defied all the skill of the moderns. Lord Byron, however, having composed this piece at Athens, in 1811, and brought it home in the same desk with the first two cantos of Childe Harold, appears to have, on his arrival in London, contemplated its publication as far more likely to increase his reputation than that of his original poem. Perhaps Milton's preference of the Paradise Regained over the Paradise Lost is not a more decisive example of the extent to which a great author may mistake the source of his greatness.

Lord Byron was prevented from publishing these lines, by a feeling which, considering his high notion of their merit, does him honour. By accident, or nearly so, the Harold came out before the Hints; and the reception of the former was so flattering to Lord Byron, that it could scarcely fail to take off, for the time, the edge of his appetite for literary bitterness. In short, he found himself mixing constantly in society with persons who had- from good sense, or good-nature, or from both-overlooked the petulancies of his English Bards and Scotch Reviewers, and felt, as he said, that he should be "heaping coals of fire on his head" if he were to persist in bringing forth a continuation of his juvenile lampoon. Nine years had passed ere he is found writing thus to Mr. Murray: Get from Mr. Hobhouse, and send me, a proof-E. of my Hints frem Horace: it has now the nonum prematur in annum complete for its production. I have a notion that, with

Persimilem, cujus, velut ægri somnia, vanæ
Fingentur species, ut nec pes, nec caput uni
Reddatur formæ. "Pictoribus atque poetis
Quidlibet audendi semper fuit æqua potestas."
Scimus, et hanc veniam petimusque damusque vicissim :

some omissions of names and passages, it will do; and I could pu my late observations for Pope amongst the notes. As far as versi fication goes, it is good; and, in looking back at what I wrot about that period, I am astonished to see how little I have traine on. I wrote better then than now; but that comes of my having fallen into the atrocious bad taste of the times." On hearing however, that, in Mr. Hobhouse's opinion, the iambics woul require “a good deal of slashing" to suit the times, the notion o printing them was once more abandoned. They were first pub lished, therefore, in 1831, seven years after the poet's death

(2) The date of this Satire has given rise to Moore's astonishmen that Byron, "as if in utter defiance of the 'genius loci,'” shoul have penned in such a place such a production, "impregnated a it is with London life from beginning to end."-E.

(3) In an English newspaper, which finds its way abroa wherever there are Englishmen, I read an account of this dirt dauber's caricature of Mr. H―― as a "beast," and the consequen action, etc. The circumstance is, probably, too well known t require further comment. [The gentleman here alluded to wa Thomas Hope, the author of Anastasius, and one of the mos munificent patrons of art this country ever possessed. Having somehow, offended an unprincipled French painter, by nam Dubost, that adventurer revenged himself by a picture calle "Beauty and the Beast," in which Mr. Hope and his lady wer represented according to the well-known fairy story. The pictur had too much malice not to succeed; and, to the disgrace of Joh Bull, the exhibition of it is said to have fetched thirty pounds in day. A brother of Mrs. Hope thrust his sword through the can vass; and M. Dubost had the consolation to get five pounds da mages. The affair made much noise at the time, though Mr. Hop had not then placed himself on that seat of literary eminenc which he afterwards attained. Probably, indeed, no man's repu tation in the world was ever so suddenly and completely altered as his was by the appearance of his magnificent romance.

(4) "Moschus."-In the original MS., "Hobhouse."-E.
(5) "All artists."-Originally, "We scribblers."-E.

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We claim this mutual mercy for our task,

Unless your care 's exact, your judgment nice, And grant in turn the pardon which we ask; The flight from folly leads but into vice; But make not monsters spring from gentle dams- None are complete, all wanting in some part, Birds breed not vipers, tigers nurse not lambs. Like certain tailors, limited in art. A labour'd long exordium sometimes tends

For galligaskins Slowshears is your man;

But coats must claim another artisan.(3) (Like patriot speeches) but to paltry ends; And nonsense in a lofly note goes down,

Now this to me, I own, seems much the same

As Vulcan's feet to bear Apollo's frame;(4)
As pertness passes with a legal gown:
Thus many a bard describes in

Or, with a fair complexion, to expose
strain

pompous The clear brook babbling through the goodly plain : Black eyes, black ringlets, but a bottle-nose! The groves of Granta, and her gothic halls,

Dear authors ! suit your topics to your strength, King's Coll., Cam's stream, slain'd windows, and And ponder well your subjeci, and its length; old walls;

Nor lift your load, before you ’re quite aware Or, in adventurous numbers, neatly aims

What weight your shoulders will, or will not, bear. To paint a rainbow, or-the river Thames. (1) But lucid order, and Wit's siren voice, You sketch a tree, and so perhaps may shine

Await the poet, skilful in his choice;

With native eloquence he soars along,
But daub a shipwreck like an alehouse sign;
You plan a vase~it dwindles to a pot,

Grace in his thoughts, and music in his song.
Then glide down Grub-street-fasting and forgot;

Let judgment teach him wisely to combine Laugh'd into Lethe by some quaint Review,

With future parts the now omitted line:
Whose wit is never troublesome till-true. (2)

This shall the author choose, or that reject,
In fine, to whatsoever you aspire,

Precise in style, and cautious to select;

Nor slight applause will candid pens afford
Let it at least be simple and entire.

To him who furnishes a wanting word.
The greater portion of the rhyming tribe Then fear not if 't is needful to produce
(Gire ear, my friend, for thou hast been a scribe) Some term unknown, or obsolete in use,
Are led astray by some peculiar lure.

(As Pitt(5) has furnish'd us a word or two, Tlabour to be brief-become obscure;

Which lexicographers declined to do :)
One falls wbile following elegance too fast; So you indeed, with care,-(but be content
Another soars, inflated with bombast;

To take this license rarely)-may invent.
Too low a third crawls on, afraid to fly,

New words find credit in these latter days, He spins his subject to satiety:

Il neatly grafted on a Gallic phrase. Absurdly varying, be at last engraves

Wbat Chaucer, Spenser did, we scarce refuse Fish in the woods, and boars beneath the waves ! To Dryden's or to Pope's maturer muse.

a

Sed non ut placidis coeant immitia; non ut

Joselix operis summa, quia ponere totum
Serpentes avibus geminentur, ligribus agni.

Nesciet. Hunc ego me, si quid componere curem,
Inceptis gravibus plerumque et magna prosessis

Non magis esse velim, quam pravo vivere Daso,
Purpureus, late qui splendeat, unus et alter

Spectandum nigris oculis, nigroque capillo.
Assuitur pannus ; cum lucus et ara Dianæ,

Sumite materiam vestris, qui scribitis, æquam
Et properantis aquæ per amenos ambitur agros,

Viribus; et versate diu, quid ferre recusent,
Aut lumen Rhenum, aut pluvius describitur arcus.

Quid valeant humeri. Cui lecta potenter crit res,
Sed nunc non erat his locus; et fortasse cupressum

Nec facundia deseret hunc, nec lucidus ordo.
Seis simulare : quid boc, si fraclis enatat exspes

Ordinis hæc virtus erit et venus, aut ego fallor,
Navibus, ære dato qui pingitur ? amphora cæpit

Ut jam nunc dicat, jarn nunc debentia dici,
lostitui; currente rota cururceus exit?

Pleraque differat, et præsens in tempus omittat;
Denique sit quod vis, simplex duntaxat et unum.

Hoc amet, hoc spernat promissi carminis auctor.
Maxima pars vatum, pater, et juvenes patre digni,

In verbis etiam tenuis cautusque serendis,
Decipimur specie recti. Brevis esse laboro,

Dixeris egregie, nocum si callida verbum
Obscurus fio: sectantem levia, nervi

Reddiderit junctura novum. Si forte necesse est
Deliciunt animique : professus grandia, turget :

Indiciis monstrare recentibus abdita rerum,
Serpil humi, tutus nimium, timidusque procellæ.

Fingere cinctutis non exaudita Cethegis
Qui variare cupit rem prodigialiter unam,

Continget; dabiturque licentia sumpta pudenter.
Delphinum sylvis appingit, fluctibus aprum.

Et nova fietaque nuper habebunt verba fidem, si
In vitium ducit culpæ fuga, si caret arte.

Græco fonte cadant, parce detorta. Quid autem
Emilium circa ludum faber unus et ungues

Cæcilio, Plautoque dabit Romanus, ademptum
Esprimel, et molles imitabitur ære capillos;

Virgilo, Varioque ? Ego cur, acquirere pauca S" Where pure description held the place of sense.”—Pope. form may have since taken place I neither know, nor desire to (2) "This is pointed, and felicitously expressed.”—Moore.

know. 5) Mere common mortals were commonly content with one (4) MS. “As one leg perfect, and the other lame.”-E. tailor and with one bill, but the more particular gentlemen found (8) Mr. Pilt was liberal in his additions to our parliamentary it impossible to confide their lower garments io the makers of congue; as may be seen in many publications, particularly the their body-clothes. I speak of the beginning of 1809 : what re- Edinburgh Review.

mate

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If you can add a little, say why not,

The immortal wars which gods and angels wage, As well as William Pitt, and Walter Scott ? Are they not shown in Milton's sacred page ? Since they, by force of rhyme and force of lungs,

His strain will teach what numbers best belong Enrich'd our Island's ill-united tongues ;

To themes celestial told in epic song. 'T is then-and shall be-lawful to present

The slow sad stanza will correctly paint Reform in writing, as jo parliament.

The lover's anguish, or the friend's complaint.

But which deserves the laurel-rhyme or blank ? As forests shed their foliage by degrees,

Which holds on Helicon the higher rank? So fade expressions which in season please;

Lel squabbling critics by themselves dispute
And we and ours, alas ! are due to fate,

This point, as puzzling as a Chancery suit.
And works and words but dwindle to a date.
Though as a monarch nods, and commerce calls,

Satiric rhyme first sprang from selfish spleen.
Impetuous rivers stagnate in canals; (sustain You doubt-see Dryden, Pope, St. Patrick's dean.(2)
Though swamps subdued, and marshes draio'd, Blank verse (3) is now, with one consent, allied
The beavy ploughshare and the yellow grain, To Tragedy, and rarely quits her side.
And rising ports along the busy shore

Though mad Almanzor rhymed in Dryden's days, Protect the vessel from old Ocean's roar,

No sing-song hero rants in modern plays; All, all must perish; but, surviving last,

While modest comedy her verse foregoes The love of letters half preserved the past.

For jest and pun(4) in very middling prose. True, some decay, yet not a few revive ; (1) Not that our Bens or Beaumonts show the worse, Though those shall sink which now appear to thrive, Or lose one point, because they wrote in verse; As custom arbitrates, whose shifting sway

But so Thalia pleases to appear, Our life and language must alike obey.

Poor virgin! damn'd some twenty times a-year! Si possum, in videor ; cum lingua Catonis et Eoal

Res gestæ regumque ducumque et tristia bella, Sermonem patrium ditaverit, et nova rerum

Quo scribi possent qumero monstravit Homerus. Nomina protulerit? Licuit, semperque licebil,

Versibus impariter junctis querimonia primum; Signalum præsente nota producere nomen.

Post etiam inclusa est roti sententia compos. Ut sylvæ foliis pronos mutantur in annos;

Quis lamen exiguos elegos emiserit auctor, Prima cadunt: ita verborum vetus interit alas,

Grammatici cerlant, et adhuc sub judice lis est. Et juvenum ritu florent modo nata, vigentque.

Archilochum proprio rabies armavit iambu; Debemur morti nos nostraque: sive receptus

Hunc socci cepere pedem grandesque cothurni, Terra Neptunus classes aquilonibus arcet,

Alternis aplum sermonibus, et populares Regis opus; sterilisve diu palus, aplaque remis,

Vincentem strepitus, et natum rebus agendis. Vicinas urbes alit, e. grave sentit aratrum:

Musa dedit fidibus divos, puerosque deorum, Seu cursum mutavit iniquum frugibus amnis,

Et pugilem victorem, et equum certamine primum, Doctus iter melius: mortalia facta peribunt;

El juvenum curas, et libera vina referre. Nedum sermonum stet honos, et gratia vivas.

Descriptas servare vices operumque colores, Mulla renascentur, quæ jam cecidere, cadentque,

Cur ego, si nequeo ignoroque, poeta salutor? Quæ nunc sunt in honore vocabula, si volet usus,

Cur descire, pudens prave, quam discere malo? Quem penes arbitrium est, et jus et norma loquendi.

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(1) Old ballads, old plays, and old women's stories, are at pre-wbom, like Pope, it is the present fashion to decry, will ever be sent in as much request as old wine or new speeches. In fact, received by me with that deference which time will restore to him this is the millennium of black letter: thanks to our Hebers, from all; but, with all humility, I am not persuaded that the PaWebers, and Scotts !-(There was considerable malice in thus radise Lost would not have been more nobly conveyed to posleputting Weber, a poor German hack, a mere amanuensis of Sir rity, not perhaps in heroic couplets,--although even they could Walter Scoll, between the two other names.-E.)

sustain the subject, if well balanced, - but in the stanza of Spenser, (2) Mac Flecknoe, the Dunciad, and all Swill's lampooning or of Tasso, or in the terza rima of Dante, which the powers of ballads. Wbalever their other works may be, these originated Milton could easily have grafted on our language. The Seasons in personal feelings, and angry retort on unworthy rivals; and of Thomson would have been better in rhyme, although still inthough the ability of these satires elevates the poetical, ibeir ferior to his Castle of Indolence; and Southey's Joan of Arc poignancy detracts from the personal, character of the writers. no worse."-E. -(For particulars of Dryden's feud with his successor in the (4) With all the vulgar applause and critical abhorrence of laureateship, Shadwell, whom he has immortalised under the puns, they have Aristotle on their side; who permits them to name of Mac Plecknoe, and also as Og in the second part of orators, and gives them consequence by a grave disquisition.Absalom and Achitophel, and for the literary squabbles in -{"Cieero also,” says Addison, “has sprinkled several of his which Swift and Pope were engaged, the reader must turn 10 works with them; and, in his book on Oralory, quotes abundance the lives and works of these three great writers. See also of sayings as pieces of wit, which, upon examination, prove arrant Mr. D’Israeli's painfully interesting book on The Quarrels of Au- puns. But the age in which the pun chielly Nourished was in the thors.-E.)

reign of James the First, who was himself a tolerable punster, and (3) Like Dr. Johnson, Lord Byron maintained the excellence made very few bishops or privy counsellers that had not some of rhyme over blank verse in English poetry. “Blank verse,' time or other signalised themselves by a clinch, or a conundrum. he says, in his long-lost letter to the editor of Blackwood's Ma- The sermons of Bishop Andrews, and the tragedies of Shakspeare, gazine, " unless in the drama, no one except Milion ever wrote are full of them. The sinner was punned into repentance by who could rhyme. I am aware that Johnson bas said, after some the former; as, in the latter, nothing is more usual than to see a hesitation, that he could not 'prevail upon himself to wish that hero weeping and quibbling for a dozen lines logelher.”—E.) Milton had been a rhymer.' The opinions of that truly great man

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