32 
ed with a sweetness and harmony of ver- 
sification peculiar to that poet. There is 
mdeed nothing in poetry either fictitious 
or descriptive, but what & didactic writer 
of genius may be allowed to introduce in 
some parts of his work, provided that the 
episodes arise naturally from the subject, 
that they be not out of proportion to the 
length of it, and chat the author knew how 
to descend with propriety to the plain, 
and elevate himself to the most figurative 
style. 
Much has at all trmes been said of the 
colouring of poetry, and more exalted 
power of affecting and amending the heart. 
Splendour of colouring and richness of 
imagery are calculated to please the ima- 
gination; but tenderness im the poet will 
producea corresponding tenderness in the 
soul of hisreader. Heshould at all times 
study rather to enlarge the heart, than to 
exalt the fancy, The recollection of any 
interesting objecta, the observations which 
it will naturally excite; occasional strains 
of melancholy, and even of softness, if 
produced by ‘such remembrance, and not 
by the languor of the poet ; ‘alternate 
symptoms of | joy, sympathy or pity; as 
the different objects present chemnele es to 
his imagination; bursts of enthusiasm or 
indignation; in a word, all that nature 
can inspire, or eloquence display, should 
enliven or intenerate a didactic poem; 
particularly if the. subject be interesting 
to man, nearly affect his happiness, and 
¢an produce a serious influence on his 
mind, The subjects of commerce or na- 
vigation, if poetically treated, might, for 
instance, produce these effects; for it were 
to be wished that the principles of every 
art should be consecrated by poetry. En 
the infancy of letters, the first and most es- 
sential prinetples were thus committed to 
the memory of mankind. The didactic 
poem was perhaps the first-written lesson, 
the first schoo! of morals, the first register 
ot laws, To bring it back to its former 
utility and to its primitive dignity, should 
be the object of emulation among the 
poets of an enlightened age. 
To these emotions of the soul should 
be joined the power of poetical elocution. 
This will vary according to the sentiments 
or images employed. The different chia- 
racter of each passion, description or pic- 
ture, must point out the different style and 
language in which they are io be deline- 
ated or represented. We cannot better 
express our meaning than by quoting the 
feilowing lines of Pope, which have fre- 
quently been cited as a beautiful example 
ef adapting the sound to the sense. 
Lyceum of Ancient Literature-—Didactic Poetry. [Feb. t, 
Soft is the strain where zephyr gently blows, 
And the smooth stream in smoother numbers 
flows 5 
But when loud surges lash the sounding 
shore, 
The hoarse rough verse should like the tore 
rent roar : 
When Ajax strives some rock’s vast weight 
to throw, 
The line too labours, and the words move 
slow ; 
Not so when swift Camilla scours the plain, 
Flies o’er the unbending corn, and skims along 
the main. 
Essay on Criticism. 
Johnson, indeed, has remarked, and 
endeavoured to prove, that Pope failed 
in this instance. But, of what Pope en- 
deavoured to oe as 2 lesson, Vir= 
gil has given us many examples, and 
such as have not been imitated since. 
In recommending to the didactic poet 
to obviate the sterility of his subject, we 
must add that the opposite extreme 
would be to employ the style and Jans 
guage of the ode, ‘the epic, or of tra- 
cedy. The “ eloquentie genus” should 
be of a more temperate kind. The lan- 
guave should be dignified, but easy and 
modest; higher than that of an epistle, 
but less lofty than the epopea. He 
may be compared to a philosopher, whose — 
wisdom we venerate, and whose lessons 
are intended for our improvement. 
Whether the English didactic poem, 
as well as the epic, should be composed 
in blank verse or in rhyme, must be left 
to the taste or judgment of the poet. 
Opinions have so much varied on this 
point, that nothing like a rule can be 
laid down. The elegance and uncom- 
mon accuracy of Pope have, in general, 
recommended rhyme for didactic poetry 
though we have many poeins of that de- 
scription, which lose none of their merit 
r beauty by being written in blank 
verse. The latter, indeed, seems more 
particularly appropriate to the epic, 
which, since the ‘ Paradise Lost,” has 
seldom been composed in rhyme. Bue 
we must not, in blind idolatry, allow 
Milton the honour which he seems to ar- 
rogate to himself, and which has seldom 
been denied, of ‘being the inventor of 
our blank verse. In the tragedies of 
Shakspeare are several passages as har- 
monious as any in the Paradise Lost, ang 
as elegantly correct; though it must be 
admitted that Milton invented that -va- 
riety of pauses which render English’ ~ 
blank verse so suited to the heroic fable ; 
where rhyme, how well constructed soe 
CVOF 
