fancy, a poet of the greatest fire would be imitated better in the freedom of blank verse, and the description of war sounds more pompous out of rhyme. But, will the translation, said he, be thus removed enough from prose, without greater inconveniences? What transpositions is Milton forced to, as an equivalent for want of rhyme, in the poetry of a language which depends upon a natural order of words? And even this would not have done his business, had he not given the fullest scope to his genius, by choosing a subject upon which there could be no hyperboles. We see (however he be deservedly successful) that the ridicule of his manner succeeds better than the imitation of it; because transpositions, which are unnatural to a language, are to be fairly derided, if they ruin it by being frequently introduced; and because hyperboles, which outrage every lesser subject where they are seriously used, are often beautiful in ridicule. Let the French, whose language is not copious, translate in prose; but ours, which exceeds it in copiousness of words, may have a more frequent likeness of sounds, to make the unison or rhyme easier; a grace of music, that atones for the harshness our consonants and monosyllables occasion.
After this, I demanded what air he would appear with? whether antiquated, like Chapman's version, or modern, like La Motte's contraction. To which he answered, by desiring me to observe what a painter does who would always have his
