[ 101 J 



He continues the fame thought often beyond the line, and 

 fometimes beyond the couplet *. Hence it happens that his 

 verfes are natural and their harmony varied, though it muft 

 be obferved alfo, that the paufes in found do not always co- 

 incide with thofe in fenfe- His lines are often eked out by 

 feeble and expletive parts adjoined, fuch as more, bet-ween, 

 here, fo, and feveral weak terminations and profaic verfes might 

 be pointed out in his writings, as where he tells us that the 

 morals of the Swifs are but /ow— that the train of Auburn at 

 proud men's doors beg a little bread— ox that nations though 

 •very poor may /till be very blejl. His rhyming words are gene- 

 rally monofyllables of the moft familiar clafs. The word 77><; 

 rhymes in two couplets out of three in his Traveller — the 

 word round rhymes three times in eleven couplets in his 

 Dcferted Village. Goldfmith in this refpedl did not fuffi:iently 

 confult variety, but he poireffes thofe happy arts of engaging 

 the reader's attention to fome beauty, or intereftihg his affec- 

 tions by fome pathetic image, and the fault which is not per- 

 ceived is as if it did not exift. 



Goldsmith's faults are all faults of apparent inadvertence; 

 but would his poems be more excellent had he fludied to 



corredl 



* This is fometimes attended with a powerful and fublime efFeft. 



Befide the bed where parting life was l.iid, 



And forrow, grief and guilt by turns difmay'd, 



The reverend champion ftood. At his conlroul, &c. 



