the subject of Homer, or rather on the subject of my Preface. He was doubtful whether or not my preference of blank verse, as affording opportunity for a closer version, was well founded. On this subject he wished to be convinced; defended rhyme with much learning, and much shrewd reasoning, but at last allowed me the honor of the victory, expressing himself in these words:-I am clearly convinced, that Homer may be best rendered in blank verse, and you have succeeded in the passages that I have looked into.

Thus it is when a wise man differs in opinion. Such a man will be candid, and conviction, not triumph, will be his object.

Adieu! The hard name I gave you, I take to myself, and am your

εκπαγλότατος,

W. C.

I seize an opportunity of gratifying my reader with the letters alluded to, that passed between the poet and the chancellor; who said, in writing to a relation of Cowper, on his recent Homer, "I have read our Friend's preface, and believe he is right in many things, but I doubt whether the melody of a rhimed line must not be as perfect as that of a blank one.—I doubt also, whether the habit of an English ear does

not require rhimes, at least so far, as sooner to be sensible of measure so marked: and, if he really writes with more ease in rhime, I doubt whether his objection to the fetters is true." His lordship proceeded to point out a little mistake of the Translator in the speech of Achilles to Phoenix, which Cowper very thankfully corrected. The great Lawyer added his own hasty version of that speech, in rhime; faithful enough to the sense of the original, but too unpoetical for the press. I proceed therefore to the first letter of Cowper on this subject,

LETTER CCCLXIX.

TO THE LORD THURLOW.

MY LORD,

A LETTER reached me yesterday from Henry Cowper, enclosing another from your Lordship to himself, of which a passage in my work formed the subject. It gave me the greatest pleasure; your strictures are perfectly just, and here follows the speech of Achilles accommodated to them *

I did not expect to find your Lordship on the side of rhime, remembering well with how much energy and interest I have heard you re

peat passages from the Paradise Lost, which you could not have recited as you did, unless you had been perfectly sensible of their music. It comforts me therefore to know that if you have an ear for rhime, you have an ear for blank verse also.

It seems to me that I may justly complain of rhyme as an inconvenience in translation, even though I assert in the sequel, that to me it has been easier to rhime than to write without, because I always suppose a rhiming translator to ramble, and always obliged to do so. Yet I allow your Lordship's version of this speech of Achilles to be very close, and closer much than mine. But I believe that should either your Lordship or I give them burnish or elevation, your lines would be found, in measure as they acquired stateliness, to have lost the merit of fidelity. In which case nothing more would be done than Pope has done already.

I cannot ask your Lordship to proceed in your strictures, though I should be happy to receive more of them. Perhaps it is possible that when you retire into the country, you may now and then amuse yourself with my Translation. Should your remarks reach me, I promise faithfully that they shall be all most welcome, not only as yours, but because I am sure my work will be the better for them.

With sincere and fervent wishes for your Lordship's health and happiness,

ON coming to town this morning, I was surprised, particularly at receiving from you an answer to a scrawl, I sent Harry, which I have forgot too much to resume now. But I think I could not mean to patronise rhime. I have fancied, that it was introduced to mark the measure in modern languages, because they are less numerous and metrical than the ancient; and the name seems to import as much. Perhaps there was melody in ancient song, without straining it to musical notes; as the common Greek pronunciation is said to have had the compass of five parts of an octave. But surely that word is only figuratively applied to modern poetry: Euphony seems to be the highest term it will bear. I have fancied also, that

euphony is an impression derived a good deal from habit, rather than suggested by Nature; therefore in some degree accidental, and consequently conventional. Else why can't we bear a drama with Rhime, or the French one without it? Suppose the Rape of the Lock, Windsor Forest, L'Allegro, Il Penseroso, and many other little poems which please, stripped of the rhime, which might easily be done, would they please as well? It would be unfair to treat rondeaus, ballads, and odes in the same manner, because rhime makes in some sort a part of the conceit. It was this way of thinking, which made me suppose, that habitual prejudice would miss the rhime; and that neither Dryden or Pope would have dared to give their great authors in blank

verse.

I wondered to hear you say you thought rhime easier in original compositions; but you explained it, that you could go further a-field, if you were pushed for want of a rhime. An expression preferred for the sake of the rhime looks as if it were worth more, than you allow. But to be sure in translation the necessity of Rhime imposes very heavy fetters upon those, who mean Translation, not paraphrase. Our common heroick metre is enough; the pure Iambick, bearing only a sparing introduction of Spondees, trochees, &c. to vary the measure.