First, as to the selection of harmonious and poetical words, that is to say, of words, which in themselves, and singly taken, give a noble and grateful sound, run easily into versification, and form musical lines.-This requires a complete knowledge of the wealth and resources, the powers and varieties of language, regulated by a critical ear; qualities, which Apollonius and Virgil eminently possessed. The words, which offer themselves to the choice of the poet, are polysyllables; since, by the use of them, there is greater opportunity given to vary the pause, and employ that artful cesura, on which we shall touch hereafter. Monosyllable words seldom are so smooth in themselves, as the syllables, which form part of polysyllables, the latter usually have a smoother, and also a nobler sound, than an equal number of letters and syllables disposed into monosyllables-besides, even the smoothest monosyllables, disposed in a line wholly composed of such words, will produce a repetition of hiatus, a succession of pauses, like so many stepping stones, unavoidably introduced, notwithstanding the utmost care of the author, and the reader or reciter. To accomplish this selection, and place at the disposal of the poet, a due number of melodious and high-sounding words, fit for the purposes of harmony, and falling readily into the ranks of versification, engaged much of the care of the Alexandrine writers. Two expedients were adopted by them, for this purpose-the frequent and free use, and even accumulation of epithets-and the copious introduction of the appellations of divine personages, and the proper names of persons and places. The latter device was much forwarded, by their learning, and the intimate knowledge of genealogy, and the details of fabulous history and mythology. Virgil has closely followed the example of these writers, in the abundant use of epithets, and proper names, which he has employed ployed with the happiest effect, and the utmost advantage to his versification. Apollonius was not the first, who availed himself of this resource-we find Callimachus is very fond of introducing a long collection of sounding names--the practice might have been first suggested to him, by a perusal of the Orphic hymns; but, I am persuaded, that he was induced to persevere in it, by his perceiving it to be so productive of harmonious versification. In this practice, he and his imitators have been followed by many of the modern poets, who have succeeded best in the province of versification. For specimens of the accumulation of epithets, we may turn to any of the Orphic hymns at random. σε Κοσμοκραίως, συρικία, πυρίδρομο κυκλοελικίε " Φωσφορε αιολοδικίε Φερεσ βιε καρπιμε παιαν. "6 Φαεσφορή δια σεληνη σε Ταυροκερως μηνη νυκ ίδρομη ηεροφοιτι So in Callimachus we have 66 Πηλογονων ελαίηρα δικαστολον Ουρανίδησι Εξοι' ἐπ' Αμφρυσω ζευγλίδας εἴρεφεν ἱππες.” Milton, who studied the Alexandrine poets, with much diligence, never expatiates with more delight, than when he gets into a strain of this kind, where ancient mythology supplies him, with a number of smooth and sounding epithets, or proper names. -As "Whose annual wound in Lebanon allur'd "While smooth Adonis, from his native rock, "Ran purple to the sea, suppos'd with blood "Of Thammuz yearly wounded." Again "Where old Cham, "Whom Gentiles Ammon call, and Lybian Jove "Hid Amalthea, and her florid son, "Young Bacchus, from his stepdame Rhea's eye.”. "In Vallombrosa, where th' Etrurian shades "High over-arch'd embower." "When Charlemagne, with all his peerage, fell. "By Fontarabia, "Marocco, or Damasco, or Trebisond." Akenside, who studied the ancients, and imitated them almost to pedantry, and has versified, with uncommon ease and smoothness, pursues the example of the Alexandrine school, in the abundant use of epithets, and proper names of persons. In doing this, Milton and he were not merely guided, by a blind devotion to their classic models-they perceived, that proper names, and personal epithets, are usually polysyllables, being derived from a combination of qualities; and, that in general, they are also smoother than other words. We have many examples, in the Hymn to the Naiades of Akenside, which is versified with a most refined and studious attention to harmony. "Ther "Then social reign'd "The kindred powers-Tethys and reverend Ops, "And spotless Vesta." "And tuneful Aganippe, that sweet name "Amalthea pours Well-pleas'd, the wealth of that Ammonian hora.” "Fragrant isles "Nysean or Atlantic." "O'er the Batic vale, "Or thro' the tow'rs of Memphis, and the palms, 66 By sacred Ganges water'd." "With the buxom fleece "Of fertile Ariconium, while she clothes "Sarmatian kings." In Virgil we find innumerable instances, of the same management as "Italiam fato profugus 66 Lavinaque venit.” "Tyrii tenuere coloni "Carthago, Italiam contra Tiberinaque longe." "Lycios fidumque vehebat Orontem.” 'Jam fortis Achata "Et quâ vectus Abas, et quâ grandevus "Alethes." 66 Cymothoe simul et Triton adnixus acuto.". "Aut Capyn aut celsis in puppibus arma Caici.”"Fata Lyci, fortemque Gyan, fortemque Cloanthum." "Cana Fides, et Vesta, Remo cum fratre Quirinus." "Cum domus Assaraci Pthiam clarasque Mycanas." "Atridas, Priamumque, et sævum ambobus "Achillem." "Qualis in Eurote ripis, aut per juga Cynthi "Exercet Diana choros.” "Ducit Amazonidum lunatis agmina peltis "Penthesilea furens." "Antea Sergestumque, videt fortemque Cloanthum.”"Arcturum, pluviasque Hyadas, geminosque Triones." "Heic Dolopum manus, heic sævus tendebat Achilles." 36 Quos neque Tydides, nec Larissaus Achilles." "Tisandrus Sthenelusque duces, et dirus Ulysses "Demissum lapsi per funem Athamasque, Thoasque, "Peleidesque Neoptolemus, primusque Machaon "Et Menelaus, et ipse doli fabricator Epeus.” It is unnecessary to multiply quotations--the reader will see, in this large collection of lines, taken indiscriminately from two or three books only out of Virgil, that epithets and proper names, among the Greeks especially, are almost always polysyllables, and invariably smooth-that Virgil was very fond of introducing them, and showed his judgment in so doing, since the lines, which are wholly, or in great measure, composed of them, |