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COWLEY.
67
enumeration, and the force of metaphors is lost, when the mind by the mention of particulars is turned more upon the original than the secondary sense, more upon that from which the illustration is drawn than that to which it is applied.
Of this we have a very eminent example in the ode intituled The Muse, who goes to take the air in an intellectual chariot, to which he harnesses Fancy and Judgement, Wit and Eloquence, Memory and Invenention; how he distinguished Wit from Fancy, or how Memory could properly contribute to Motion, he has not explained: we are however content to suppose that he could have justified his own fiction, and wish to see the Muse begin her career; but there is yet more to be done.
Let the postilion Nature mount, and let
The coachman Art be set;
And let the airy footman, running all beside
Make a long row of goodly pride;
Figures, conceits, raptures, and sentences,
In a well-worded dress,
And innocent loves, and pleasant truths, and useful lies,
In all their gaudy liveries.
The coachman Art be set;
And let the airy footman, running all beside
Make a long row of goodly pride;
Figures, conceits, raptures, and sentences,
In a well-worded dress,
And innocent loves, and pleasant truths, and useful lies,
In all their gaudy liveries.
F 2
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