which both his authority and his example made popular, Donne was rather formless. But nearly all the eighteenth-century critics and criticasters concentrated their attention on the Satires; and in the Satires Donne certainly takes singular liberties, no matter what scheme be preferred. It is now, I believe, pretty well admitted by all competent judges that the astonishing roughness of the Satirists of the late sixteenth century was not due to any general ignoring of the principles of melodious English verse, but to a deliberate intention arising from the same sort of imperfect erudition which had in other ways so much effect on the men of the Renaissance generally. Satiric verse among the ancients allowed itself, and even went out of its way to take, licences which no poet in other styles would have dreamt of taking. The Horace of the impeccable odes writes such a hideous hexameier as-—
“Non ego, namque parabilem amo Venerem facilemque,
and one of the Roman satirists who was then very popular, Persius, though he could rise to splendid style on occasion, is habitually as harsh, as obscure, and as wooden as a Latin poet well can be. It is not probable, it is certain, that Donne and the rest imitated these licences of malice prepense.
