sition is no longer prose, but blank-verse. If it is not uniform, and does not regularly return upon the ear, the composition will be more unharmonious, than if the measure had been entirely neglected. Of this, Mr Macpherson's translation of the Iliad is a strong example.
But it is not only by the measure that poetry is distinguishable from prose. It is by the character of its thoughts and sentiments, and by the nature of that language in which they are clothed. A boldness of figures, a luxuriancy of imagery, a frequent use of metaphors, a quickness of transition, a liberty of digressing; all these are not only allowable in poetry, but to many species of it, essential. But they are quite unsuitable to the character of prose. When seen in aprose
