[ 71 ] 



Fourthly. I muft further obferve, that although we fhould 

 allow the compofition of the irregular ode, to be, as Mr. Mafon 

 is pleafed to aliert, more eafy, it impofes on the poet a neceffity 

 of verfifying with greater care, and fatisfying the ear with a 

 melody more full and compleatly rounded. The harmony of 

 verfification cannot fo eafily make itfelf to be felt by the rea- 

 der, when the ftanza comes in a new and unforefeen form, as 

 when the ear is habituated, and broken, as I may fay, to the 

 expeded march of an uniformly repeated flanza. When the 

 hearer is prepared for the return of the paufe at regular inter- 

 vals, he learns to miftake the mere technical arrangement of 

 the lines for harmonious verfification, and hardly allows him- 

 felf to enquire, whether the flop is judicioully placed, or the 

 period duly filled, fo as to leave the ear perfedly fatisfied. In 

 the irregular ode there is no fuch deception, the ear is not im- 

 pofed on, and any fault in the verfification will be immediately 

 perceived. 



Fifthly. A correfpondence of the found with the fentiment 

 is certainly a very great beauty, and the poet fhould endeavour 

 to obtain it, whenever it may be had, without facrificing more 

 important things. This beauty may fometimcs refult from the 

 happy force of a fingle word, fometimes it is produced by the 

 ftrudure and cadence of a fingle line, but is eflibded moft 

 forcibly and moft generally by the arrangement and fymmetry of 

 a whole period *. Now, I believe it cannot be denied, and there- 

 fore 



* Example of the firfl : 



Procunabit humi bos^ 

 Of the fecond : 



Monftnim 



