Poetry has queſtionleſs her peculiar ſtile and muſt, from a poet, demand it. ![]() Not that ei ther is looſe, without controul or limited, without freedom. Much of the expreſſion, in every tongue, muſt be common to language, looſe and limited. If thus, in manner, as in matter, MART 1 AL own juſtice attempted him it will neither be unaccepta ble to the knowing, nor unavailing to the ignorant to find (perhaps for the firſt time) in a work compri fing much above ten thouſand lines of Engliſh verſe that, on every rime and ſtreſs, as well as (it is hoped) on every term and phraſe, the reader may ſecurely depend. In either language, he that runs, may read and he that reads, may ſing. ![]() But, as all meaſures may prove occaſionally lyric tho’ our pentameter and hexameter (or five and fix-foot-) Iambic be appropriated to the heroic lyre the ſhor ter Iambics, no leſs than the Trochaics, and the Dačtylians or Anapeſtics admit reſpective muſic fami liar to a Britiſh, as were the Latin modulations to a Roman ear. Or Dačtylian, differing alſo, but by a ſhort (or weak) ſyllable if not abſolutely excluding elevated themes, obviouſly more ſuited to the jovial ſong. Have been with attention employed : the Iambic, in various fize, ſuſceptible, not onely of the grave and the grand : its reverſe, however near the Trochaic, expreſſive of ſprightly ſtrains and the Anapeſtic, That MART I Almight, in Engliſh, meet like adaptation every poſſible meaſure, and ſuitable ſtanza, ![]() Neither is pure heroic, as himſelf demonſtrates, beyond the reach of epigram. Tho' he ſometimes therefore chooſes the Iam bic ſtanza to both parts of which, the modern tongues, eſpecially ours, ow their principal meaſures and often the Scazontian, when the Muſe would ſeem to halt nearer to proſe, in order perhaps to move with double majeſty: his favorite meter for gaiety, is doutleſs the Phaleucian (or Phalecian) as, for ſo lemnity, tenderneſs, every purpoſe the elegiac diſtic. Quick as thought, it begins without form, procedes without interruption, tho’ not without order and flies to its point, which enters head and heart with unavoidable, as often unex pećted, power.Įpigram admitting, in all languages, all meaſures, as well as all ſubjećts we cannot wonder if a wit, that has flaſhed on every theme, have adopted every ſpecies of Latin verſification, that could moſt pleaįingly point his morals, and moſt poinantly couch his jokes. So forth epigram, animated as free, owns but one limit if more or leſs requiſite to every human labor eſſential to this, brevity. ![]() While other ſpecies of poetry are reſpectively confined in ſubječt method time, place, meaſure, and,. With the manners, natural or inĬidental, to rank, age, circumſtance, and occaſion each paſſion finds here her particular play, each ac tion her propriety or its oppoſite. To theme, as ſhould every compoſition, it adapts the ſtile exalted or familiar, ſerious or comic, tender or keen, didactic or deſcriptive.Įvery meaſure and ſtanza thus in its power, it catches every ſcene as exhibited and paints inſtanta neous each various character, for the delight or deteſtation of mankind. Tion or deciſion, antiquity or apologue poem, of any kind, in miniature: ode, epode epiſtle, ſatyr Įlegy, epitaph. PIGRAM, being a poetic inſcription, addreſs, or eſſay, on any ſubjećt may contain, and muſt, in ſuch hands as MART I Als encomium or ſtrićture, remark or hint, anecdote or oddity, deſcrip Printed by BAKER and GALABIN, Ingram-court, Fenchurch-street, And ſold (Price a GUINEA in Boards) by B. This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible.
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