First, then, I am of opinion, that to poetry verse is not essential. In a prose work, we may have the fable, the arrangement, and a great deal of the pathos, and language, of poetry; and such a work is certainly a poem, though perhaps not a perfect one. For how absurd would it be to say, by changing the position only of a word or two in each line, one might divest Homer's Iliad of the poetical character. At this rate, the arts of poetry and versification would be the same; and the rules in Despauter's grammar, and the moral distichs ascribed to Cato, would be as real poetry as any part of Virgil. In fact, some very ancient poems, when translated into a modern tongue, are far less poetical in verse than in prose; the alterations necessary to adapt them to our numbers being detrimental to their sublime simplicity; of which any person of taste will be sensible, who compares our common prose version of Job, the Psalms, and Song of Solomon, with the best metrical paraphrase of those books that has yet appeared. Nay, in many cases, comedy will be

* Madame Dacier, zealous to vindicate her Homer, seems to carry the encomium on prose translation rather too far, when she exclaims, "Ouy, je ne crains "point de le dire, et je pourrois le prouver, les pöetes "traduits en vers cessent d'etre pöetes." But she is

1

more poetical, because more pleasing and natural, in prose, than in verse. By versifying Tom Jones and the Merry Wives of Windsor, we should spoil the two finest comick poems, the one epick, the other dramatical, now in the world.

But, secondly, Though verse be not essential to poetry, it is necessary to the perfection of all poetry that admits of it. Verse is to poetry, what colours are to painting.* A painter might display great genius, and draw masterly figures with chalk or ink; but if he intend a perfect picture, he must employ in his work as many colours as are seen in the object he imitates. Or, to adopt a beautiful comparison of Demosthenes,

..

right in what she says a little after: "En fait de tráduction, il y a souvent dans la prose une précision, une "beauté, et une force, dont la pöesie ne puet approcher. "Les livres des Prophetes, et les Pseaumes, dans la "vulgate meme, sont pleins de passages, que le plus 'grand poete du monde ne scauroit rendre en vers, sans leur faire perdre de leur majesté et de leur én66 ergie." Preface a l'Iliade de Mad. Dacier, p. 39. * Horace seems to hint at the same comparison, when, after specifying the several sorts of verse suitable to epick, elegiack, lyrick, and dramatick poetry, he adds, Descriptas servare vices, operumque colores,

Cur ego, si nequeo ignoroque, Poeta salutor?

Ar. Poet. vers. 86.

quoted by Aristotle,† “Versification is to po❝etry what bloom is to the human countenance." A good face is agreeable when the bloom is gone; and good poetry may please without versification; harmonious numbers may set off an indifferent poem, and a fine bloom indifferent features: but without verse, poetry is incomplete; and beauty is not perfect, unless to sweetness and regularity of feature there be superadded,

The bloom of young desire and purple light of love.

If numbers are necessary to the perfection of the higher poetry, they are no less so to that of the lower kinds, to pastoral, song, and satire, which have little besides the language and versification to distinguish them from prose; and which some ancient authors are unwilling to admit to the rank of poems; though I think it too nice a scruple, both because such writings are commonly termed poetical, and also because there is, even in them, something that may not improperly be considered as an imitation of na

ture.

That the rhythm and measures of verse are naturally agreeable; and therefore, that by these poetry may be made more pleasing than it would

† Aristot. Rhetor. lib. 3. cap. 4.

-be without them, is evident from this, that children and illiterate people, whose admiration we cannot suppose to be the effect of habit or prejudice, are exceedingly delighted with them. In many proverbial sayings, where there is neither rhyme nor alliteration,* rhythm is obviously studied. Nay, the use of rhythm in poetry is universal: whereas alliteration and rhyme, though relished by some nations, are not much sought after by others. And we need not be at a loss to account for the agreeableness of proportion and order, if we reflect, that they suggest the agreeable ideas of contrivance and skill, at the same time that they render the connection of things obvious to the understanding, and imprint it deeply on the memory.† Verse, by promoting distinct and easy remembrance, conveys ideas to the mind with energy, and enlivens every emotion the poet intends to raise in the reader or hearer. Besides, when we attend to verses, after hearing one or two, we become acquainted with the measure, which therefore we always look for in the sequel. This perpetual interchange of hope and gratification is a source of delight; and to this in part is owing the pleasure we take

* See Essay on Laughter, chap. 2. sect. 3.

On the effects of rhythm in musick, see above, part 1. chap. 6. sect. 2. § 4.

in the rhymes of modern poetry. And hence we see, that though an incorrect rhyme, or untuneable verse, be in itself, and compared with an important sentiment, a very trifling matter; yet it is no trifle in regard to its effects on the hearer; because it brings disappointment, and so gives a temporary shock to the mind, and interrupts the current of the affections; and because it suggests the disagreeable ideas of negligence or want of skill on the part of the author. And therefore, as the publick ear becomes more delicate, the negligence will be more glaring, and the disappointment more intensely felt; and correctness of rhyme and of measure will of course be the more indispensable. In our tongue, rhyme is more necessary to lyrick, than to heroick poetry. The reason seems to be, that in the latter the ear can of itself perceive the boundary of the measure, because the lines are all of equal length nearly, and every good reader makes a short pause at the end of each; whereas, in the former, the lines vary in length; and therefore the rhyme is requisite to make the measure and rhythm sufficiently perceptible. Custom too may have some influence. English odes without rhyme are uncommon; and therefore have something awkward about them, or something at least to