There are, I think, two fchemes of writing, on which the laborious wits of the prefent time employ their faculties. One is the adaptation of fenfe to all the rhymes which our language can supply to fome word, that makes the burden of the ftanza; but this, as it has been only used in a kind of amorous burlefque, can fcarcely be cenfured with much acrimony. The other is the imitation of Spenfer, which, by the influence of fome men of learning and genius, feems likely to gain upon the age, and therefore deferves to be more attentively confidered.

To imitate the fictions and fentiments of Spenfer can incur no reproach, for allegory is perhaps one of the most pleasing vehicles of inftruction. But I am very far from extending the fame refpect to his diction or his ftanza. His ftyle was in his own time allowed to be vicious, fo darkened with old words and peculiarities of phrafe, and fo remote from common use, that Johnson boldly pronounces him to have written no language. His ftanza is at once difficult and unpleafing; tiresome to the ear by its uniformity, and to the attention by its length. It was at first formed in imitation of the Italian poets, without due regard to the genius of our language. The Italians have little variety of termination, and were forced to contrive such a stanza as might admit the greatest number of fimilar rhymes; but our words end with so much diverfity, that it is feldom convenient for us to bring more than two of the fame found together. If it be juftly obferved by Milton, that rhyme obliges poets to exprefs their thoughts in improper terms, these improprieties must always

be multiplied, as the difficulty of rhyme is increased by long concatenations.

The imitators of Spenfer are indeed not very rigid cenfors of themselves, for they feem to conclude, that when they have disfigured their lines with a few obfolete fyllables, they have accomplished their defign, without confidering that they ought not only to admit old words, but to avoid new. The laws of imitation are broken by every word introduced fince the time of Spenfer, as the character of Hector is violated by quoting Ariftotle in the play. It would indeed be difficult to exclude from a long poem all modern phrases, though it is easy to sprinkle it with gleanings of antiquity. Perhaps, however, the style of Spenfer might by long labour be justly copied; but life is furely given us for higher purposes than to gather what our ancestors have wifely thrown away, and to learn what is of no value, but because it has been forgotten.

NUMB. 122. SATURDAY, May 18, 1751.

Nefcio qua natale folum dulcedine cunos

Ducit.

By fecret charms our native land attracts.

OVID.

NOTHING is more fubject to mistake and disappointment than anticipated judgment concerning the eafinefs or difficulty of any undertaking, whether we form our opinion from the performance of others, or from abftracted contemplation of the thing to be attempted.

Whatever is done skilfully appears to be done with eafe; and art, when it is once matured to habit, vanishes from obfervation. We are therefore more powerfully excited to emulation, by those who have attained the highest degree of excellence, and whom we can therefore with least reafon hope to equal.

In adjusting the probablility of fuccefs by a previous confideration of the undertaking, we are equally in danger of deceiving ourselves. It is never eafy, nor often poffible, to comprise the series of any process with all its circumstances, incidents, and variations, in a fpeculative scheme. Experience foon fhews us the tortuofities of imaginary rectitude, the complications of fimplicity, and the afperities of fmoothness. Sudden difficulties often start up from the ambushes of art, ftop the career of activity, reprefs the gaiety of confidence, and when we imagine ourselves

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ourselves almost at the end of our labours, drive us back to new plans and different measures.

There are many things which we every day fee others unable to perform, and perhaps have even ourselves miscarried in attempting; and yet can hardly allow to be difficult; nor can we forbear to wonder afresh at every new failure, or to promise certainty of fuccefs to our next effay; but when we try, the fame hindrances recur, the fame inability is perceived, and the vexation of disappointment must again be fuffered.

Of the various kinds of fpeaking or writing, which ferve neceffity, or promote pleasure, none appears fo artless or easy as fimple narration; for what should make him that knows the whole order and progress of an affair unable to relate it? Yet we hourly find fuch as endeavour to entertain or inftruct us by recitals, clouding the facts which they intend to illuftrate, and lofing themselves and their auditors in wilds and mazes, in digreffion and confufion. When we have congratulated ourselves upon a new opportunity of inquiry, and new means of information, it often happens, that without defigning either deceit or concealment, without ignorance of the fact, or unwillingness to difclofe it, the relator fills the ear with empty founds, harraffes the attention with fruitlefs impatience, and difturbs the imagination by a tumult of events, without order of time, or train of confequence,

It is natural to believe, upon the fame principle, that no writer has a more easy task than the hif torian. The philofopher has the works of omnifcience to examine; and is therefore engaged in

difquifi

difquifitions, to which finite intellects are utterly unequal. The poet trufts to his invention, and is not only in danger of thofe inconsistencies, to which every one is expofed by departure from truth; but may be cenfured as well for deficiencies of matter, as for irregularity of difpofition, or ime propriety of ornament. But the happy historian has no other labour than of gathering what tra, dition pours down before him, or records trea. fure for his ufe. He has only the actions and defigns of men like himself to conceive and to relate; he is not to form, but copy characters, and therefore is not blamed for the inconfiftency of statesmen, the injustice of tyrants, or the cowardice of commanders. The difficulty of making variety confiftent, or uniting probability with furprise, needs not to disturb him; the manners and actions of his perfonages are already fixed; his materials are provided and put into his hands, and he is at leisure to employ all his powers in arranging and displaying

them.

Yet, even with these advantages, very few in any age have been able to raise themselves to reputation by writing hiftories; and among the innumerable authors, who fill every nation with accounts of their ancestors, or undertake to transmit to futurity the events of their own time, the greater part, when fashion and novelty have ceased to recommend them, are of no other ufe than chronological memorials, which neceffity may fometimes require to be confulted, but which fright away curiosity, and difguft delicacy.