pen; and with regard to composition and versification, a good ear is beyond all the rules in the world. We are now to speak of the laws and rules of the several kinds of poetry, as laid down by the best critics, and to give fpecimens of such as will fall within the compass of our design. T Of the different SPECIES of POETRY. HE writers on the art of poetry have usually classed the several forts of poems under the following heads, 2. the Epigram, the Elegy, the Pastoral, the Ode, the Satire, Comedy, Tragedy, and the Epic poem. This diftribution, however, seems insufficient, and therefore we hope a deviation from the learned in this respect will not appear arrogant or disagreeable; especially if the alterations we propose should be found to have their basis in truth and right reason. Every thing in nature, that is distinct and different from all others, should have a name, whereby it may be distinguished without a tedious enumeration of its properties and adjuncts; fince a method of that kind would occasion infinite perplexity and confufion, which is ever to be avoided, and especially in matters of science; and, if on mature examination it be found, that there are poems of confiderable character which are essentially different from those we have already mentioned, and are not to be resolved into any of them, another distribution may be justified. The Epitaph, on account, perhaps, of the epigrammatic point with which those little pieces are often closed, has been usually classed with the epigram; but as there are numberless epitaphs whose excellency does not consist in shining thoughts and points of wit, (the characteristics of our modern epigrams) we shall take the freedom to assign, them a distinct place. Epistles, descriptive and preceptive poems, tales, fables, and allegorical poetry, deserve the same distinction; for as these methods of writing have obtained much of late, they are of too great confequence to be passed over, and it seems impossible to treat of them under any other article without manifest incongruity. It may be said, indeed, that many of our epistles (especially those of Horace and Mr. Pope) partake of the fatire; but that is no reason why others that are of a quite different nature should be placed under that head. The defcriptive poems of Milton, I mean his L'Allegro and Il Penferoso, as well as Denham's Cooper's Hill, Pope's Windfor Forest, and others in our language, cannot be classed under any of the usual divisions of poetry; nor indeed can the preceptive poems with any degree of accuracy or shew of reason. Virgil's Georgics, Horace's Art of Poetry, the duke of Buckinghamshire's Effsay, Roscommon on translated Verse, Pope's Essay on Man, and his Essay on Criticism, are so essentially different and distinct from any of the usual classes, that the critics, with all their art, will never be able to discover any real agreement between them; nor will they deny, I suppose, but that Virgil's Georgits, and Pope's Effay on Man, deserve as much esteem at least as their pastorals, though they have been thus neglected in their division of this art. If it be faid, that the other species of poetry often partake of all these different kinds, I answer, that is no objection; for this they occasionally do of each other: even the epic poem, with all its dignity, has sometimes the plaintive strain of the elegy, and the sarcasm and asperity of fatire. Tales and fables, indeed, when they are of any value, are in general either didactic or fatirical, and may therefore be refolved into the preceptive poem or the fatire; but as there is something peculiar in their composition, we shall assign them a distinct chapter, and deliver what we have farther to say on this art under the following heads, viz. the Epigram, the Epitaph, the Elegy, the Pastoral, the Epistle, the Descriptive Poem, the Preceptive Poem, Tales and Fables, the Allegorical Poem, the Ode, the Satire, Comedy, Tragedy, and the Heroic poem, of which the Epic is the most exalted part, and requires the utmost extent of human genius. T CHAP. VIII. Of the EPIGRAM. in verse, HE Epigram is a little poem, or compofition treating of one thing only, and whose distinguishing characters are Brevity, Beauty, and Point. The word Epigram signifies Inscription; for epigrams derive their origin from those inscriptions placed by the antients on their statues, temples, pillars, triumphal arches, and the like; which, at first, were very short, being sometimes no more than a single word, but afterwards, increafing their length, they made them in verse, to be the better retained by the memory. This short way of writing came at last to be used upon any occasion or subject; and hence the name of Epigram has been given to any little copy of verses, without regard to the original application of fuch poems. Its usual limits are from two to twenty verses, though sometimes it extends to fifty; but the shorter the better it is, and the more perfect, as it partakes more of the nature and character of this kind of poem: Besides, the epigram, being only a single thought, ought to be expressed in a little compass, or else it loses its force and strength. The Beauty required in an Epigram is an harmony and apt agreement of all its parts, a sweet simplicity, and polite language. The Point is a sharp, lively, unexpected turn of wit, with which an epigram ought to be concluded. There are some critics, indeed, who will not admit the Point in an Epigram, but require the thought to be equally diffused through the whole poem, which is usually the practice of Catullus, as the former is that of Martial. It is allow'd there is more delicacy in the manner of Catullus, but the Point is more agreeable to the general taste, and seems to be the chief characteristic of the Epigram. This fort of poem admits of all manner of subjects, provided that Brevity, Beauty, and Point are preserved; but it is generally employed either in Praise or Satire. Tho' the best Epigrams are said to be such as are comprized in two or four verses, we are not to understand it as if none can be perfect which exceed those limits. Neither the antients nor moderns have been so scrupulous with respect to the length of their Epigrams; but however, Brevity in general is always to be studied in these compositions. For examples of good Epigrams in the English language, we shall make choice of several in the different tastes we have mention'd; some remarkable for their delicate turn and fimplicity of expression, and others for their salt and sharpness, their equivocating pun, or pleasant allufion. In the first place, take that of Mr. Pope, said to be written on a glass with the earl of Chesterfield's diamond pencil : Accept a miracle, instead of wit; See two dull lines by Stanhope's pencil writ. 'The Beauty of this Epigram is more easily seen than described. For my part I am at a loss to determine whether it does more honour to the poet who wrote it, or to the nobleman for whom the compliment is designed. The following Epigram of Mr. Prior is written in the fame taste, being a fine encomium on the performance of an excellent painter. On a Flower, painted by VARELST. Another compliment of this delicate kind he has made Mr. Horward in the following Epigram. VENUS mistaken. When CHLOE's picture was to VENUS shown; 'Tis CHLOE'S eye, and cheek, and lip, and breast: Most of Mr. Prior's Epigrams are of this delicate caft, and have the thought, like those of Catullus, diffused thro?" the whole. Of this kind is his address To CHLOE weeping. See, whilst thou weep'st, fair Chloe, fee Each drops his head, and hangs his wing. The brooks beyond their limit flow, The Epigram written on the leaves of a Fan by Dr. Atterbury, late bishop of Rochester, contains a pretty thought, express'd with ease and conciseness, and closed in a beautiful manner. On a FAN. Flavia the least and flightest toy Can with refiftless art employ. That it wounds more than Cupid's bow, We shall now select some Epigrams of the biting and fatirical kind, and such as turn upon the Pun or Equivoque, as the French call it in which fort the Point is more confpicuous than in those of the former character, |