In going however, so minutely, and in appearance earnestly, into the subject, I would be understood to mean, with due liberality, that a composition, such for instance as an ode or sonnet, may, by too great irregularity of metre, or by a deficiency in the number of rhymes, violate a rule, and seem unfinished, without perceptibly violating character. I allow too for the moderate demand, which even good taste is always making, for novelty, and of course for change; and I have already spoken of the effect of time, in determining the propriety of a measure.

As the same sort of verse has been thought adapted to different sorts of composition, from their similarity of tone, so different sorts of verse have been required for the same sort of composition, from the difference of tones it assumes, even where there is not a necessary and connected variety of measures, as in the ode. Both local and didactic poetry have, without at least manifest impropriety, been exhibited as well in blank verse as in rhyme. It seems as if in poems of a

middle length, which form the boundaries between blank verse and rhyme, something of both ought to be perceived; and as they are more descriptive, and less moral or argumentative, they are upon the whole more fit for blank verse, and less so for rhyme.

There is a natural division of the objects of our consideration into sacred and profane, which we may be here reminded of, as recommending to us respect equally for the Gothic and the classical styles of architecture; and for that reason making it necessary to attend to the character of each. By a kind of fiction, perhaps, a mansion may with propriety be built in the former style; but if this custom were to become general, it would lose that sanctity of character which it at present has. A palace, or a seat of learning, is with great propriety built in the grandest style of Grecian architecture; and as these, either by the laws of the country, or the endowments of colleges, may be connected with religion, there may also be a reason why they should often appear in a Gothic form; but our taste ought not

to lead us much further. Thus, in this art also, we see instances where different styles of structure are connected by the common use they are applied to.

There exists a prejudice, however, against the Gothic style, notwithstanding it is that which is the most constantly picturesque, which would not only encroach upon, but condemn it; but condemn it; I may be justified, therefore, in making a digression to oppose this prejudice. As the beauty of the objects that it furnishes cannot be denied, they have been supposed to derive their effect chiefly from their state of ruin, or from their antiquity. We are therefore discouraged from producing new examples of it, and more particularly from multiplying its finest examples, which must be always churches of the largest dimensions; of which the numerous small parts (though consisting with general unity) and the unapparent laws of the structure, are somewhat analogous to the mysterious objects of religious thought the tall clustering columns forming chan

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nels for the ascending voice of praise, and the tapering pinnacles appearing to point to heaven,

The French, I believe, have classical prejudices against this style; yet they might discover reasons for converting the prejudices of lettered men in favour of it. If the origin of Grecian architecture was coeval with the birth of learning, that of the pure Gothic was coincident with its revival; and if we derive more pleasure from Grecian literature, by associating the idea of it with other Grecian arts, we shall derive less from Dante and Petrarch (a writer of whose residence the French are so proud), unless we will allow of similar assistance from the monuments of that poetical superstition, which charms us in the history of Eloisa and Abelard. The taste for the Gothic, therefore, must improve our relish for literature, no less than the other. Without it, the pleasures of the imagination would be materially abridged, and the associations of ideas confined; whereas, with it, there is nothing left for us to desire.

Perhaps this architecture was in its purest state in the reign of Edward the Third; who seems to have been the English Louis Quatorze, bath

from his having lived in a learned age, and from having been actuated by a spirit of conquest. But is it not strikingly qualified to excite aversion to this very spirit of conquest, by calling to mind those times, when independent states were forming, and national liberty gradually establishing, after the destruction of the power of ancient Rome? Senate houses, perhaps, might with propriety be built in Gothic architecture, in order to commemorate the grand delivery of the world from subjection to the only power, which has yet been able to accomplish designs of universal minion.

P. 61. 1. 5.-Upon the subject of Elegy, a very different opinion is expressed by Dr. Johnson, where he treats of the metre * proper for it; and observes, that "the quatrain of ten syllables" has not an elegiac character, and that it was thought by Dryden to be the most magnificent of all metres. It may be said in answer, that Dryden had not seen its effect tried:

Life of Hammond.

VOL. II.

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