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It was unsuitable to the nicety required in short compositions, to close his verse with the word too: every rhyme should be a word of emphasis; nor can this rule be safely neglected, except where the length of the poem makes slight inaccuracies excusable, or allows room for beauties sufficient to overpower the effects of petty faulls.

At the beginning of the seventh line, the word filled is weak and prosaic, having no particular adaptation to any of the words that follow it.

The thought in the last line is impertinent, having no connection with the foregoing character, nor with the condition of the man described. Had the epitaph been written on the poor conspirator* who died lately in prison, after a confinement of more than forty years, without any crime proved against him, the sentiment had been just and pathetical; but why should Trumbull be congratulated upon his liberty, who had never known restraint ?

3.
ON THE HONOURABLE SIMON HARCOURT,

ONLY SON OF THE LORD CHANCELLOR HARCOURT.

At the Church of Stanton-Harcourt in Oxfordshire, 1720.

To this sad shrine, whoe'er thou art, draw near,
Here lies the friend most lov'd, the son most dear :
Who ne'er knew joy, but friendship might divide,
Or gave his father grief but when he died.

How vain is reason, eloquence how weak,
If Pope must tell what Harcourt cannot speak!
Oh! let thy once-lov'd friend inscribe thy stone,

And with a father's sorrows mix his own! This epitaph is principally remarkable for the artful introduction of the name, which is inserted with a peculiar felicity, to which chance must concur with genius, which no man can hope to attain twice, and which cannot be copied but with servile imitation.

I cannot but wish that, of this inscription, the last two lines had been omitted, as they take away from the energy what they do not add to the sense.

# Bornardi.

ON JAMES CRAGGS, ESQ.

In Westminster-Abbey.

JACOBVS CRAGGS,
REGI MAGNAE BRITANNIAE A SECRETIS

ET CONSILIIS SANCTIORIBVS,
PRINCIPIS PARITER AC POPVLI AMOR ET DELICIAS:

VIXIT TITVLIS ET INVIDIA MAJOR,
ANNOS HEV PAVCOS, XXXY.

OB, FEB. XVI. MDCCXX.

Statesman, yet friend to truth! of soul sincere,
In action faithful, and in honour clear!
Who broke no promise, serv'd no private end,
Who gain'd no title, and who lost no friend;
Ennobled by himself, by all approv'd,
Prais'd, wept, and honour'd, by the muse he lovd.

The lines on Craggs were not originally intended for an epitaph; and therefore some faults are to be imputed to the violence with which they are torn from the poem that first contained them. We may, however, observe some defects. There is a redundancy of words in the first couplet : it is superfluous to tell of him, who was sincere, true, and faithful, that he was in honour clear.

There seems to be an opposition intended in the fourth line, which is not very obvious; where is the relation between the two positions, that he gained no title, and lost no friend?

It may be proper here to remark the absurdity of joining, in the same inscription, Latin and English, or verse and prose. If either language be preferable to the other, let that only be used; for, no reason can be given why part of the information should be given in one tongue, and part in another, on a tomb, more than in any other place, or any other occasion; and to tell all that can be conveniently told in verse, and then to call in the help of prose, has always the appearance of a very artless expedient, or of an

attempt unaccomplished. Such an epitaph resembles the conversation of a foreigner, who tells part of his meaning by words, and conveys part by signs.

5.

INTENDED FOR MR. ROWE.

In Westminster-Abbey.

Thy reliques, Rowe, to this fair urn we trust,
And sacred place by Dryden's awful dust;
Beneath a rude and nameless stone he lies,
To which thy tomb shall guide inquiring eyes.
Peace to thy gentle shade, and endless rest!
Blest in thy genius, in thy love too blest!
One grateful woman to thy fame supplies
What a whole thankless land to his denies.

Of this inscription the chief fault is, that it belongs less to Rowe, for whom it is written, than to Dryden, who was buried near him; and indeed gives very little information concerning either.

To wish peace to thy shade is too mythological to be admitted into a Christian temple: the ancient worship has infected almost all our other compositions, and might therefore be contented to spare our epitaphs. Let fiction, at least, cease with life, and let us be serious over the grave.

6.
ON MRS. CORBET,
Who died of a Cancer in her Breast.
Here rests a woman, good without pretence,
Blest with plain reason, and with sober sense:
No conquest she, but o'er herself, desir'd;
No arts essay'd, but not to be admir'd.
Passion and pride were to her soul unknown,
Convinc'd that virtue only is our own.
So unaffected, so compos'd a mind,
So firm, yet soft, so strong, yet so refin'd,
Heaven, as its purest gold, by tortures tried ;
The saint sustain'd it, but the woman died.

I have always considered this as the most valuable of all Pope's epitaphs; the subject of it is a character not discriminated by any shining or eminent peculiarities; yet that which really makes, though not the splendour, the felicity of life, and that which every wise man will choose for his final and lasting companion in the languor of age, in the quiet of privacy, when he departs weary and disgusted from the ostentatious, the volatile, and the vain. Of such a character, which the dull overlook, and the gay despise, it was fit that the value should be made known, and the dignity established. Domestic virtue, as it is exerted without great occasions, or conspicuous consequences, in an even unnoted tenor, required the genius of Pope to display it in such a manner as might attract regard, and enforce reve

Who can forbear to lament that this amiable woman has no name in the verses?

If the particular lines of this inscription be examined, it will appear less faulty than the rest. There is scarcely one line taken from common-places, unless it be that in which only virtue is said to be our own. I once heard a lady of great beauty and elegance object to the fourth line, that it contained an unnatural and incredible panegyric. of this let the ladies judge.

rence.

7.

ON THE MONUMENT OF THE

HON. ROBERT DIGBY, AND OF HIS SISTER MARY,

ERECTED BY THEIR FATHER THE LORD DIG BY,

In the Church of Sherborne in Dorsetshire, 1727.

Go! fair example of untainted youth,
Of modest wisdom, and pacific truth:
Compos'd in sufferings, and in joy sedate,
Good without noise, with pretension great :
Just of thy word, in every thought sincere,
Who knew vo wish but what the world might Licar:
Of softest manners, unaffected mind,
Lover of peace, and friend of human kind :

Gu, live! for heaven's eternal year is thine ;
Go, and exalt thy mortal to divine.

And thou, blest maid! attendant on his doom,
Pensive hast follow'd to the silent tomb,
Steer'd the same course to the same quiet sbore
Not parted long, and now to part no more!
Go, then, where only bliss sincere is known!
Go, where to love and to enjoy are one !
Yet take these tears, mortality's relief,
And, till we share your joys, forgive our grief :
These little rites, a stone, a verse, receive,
"Tis all a father, all a friend, can give!

This epitaph contains of the brother only a general indiscriminate character, and of the sister tells nothing but that she died. The difficulty in writing epitaphs is to give a particular and appropriate praise. This, however, is not always to be performed, whatever be the diligence or ability of the writer; for, the greater part of mankind have no character at all, have little that distinguishes them from others equally good or bad, and therefore nothing can be said of them which may not be applied with equal propriety to a thousand more. It is indeed no great panegyric, that there is inclosed in this tomb one who was born in one year, and died in another; yet many useful and amiable lives have been spent, which yet leave little materials for any other memorial. These are however not the proper subjects of poetry; and whenever friendship, or any other motive, obliges a poet to write on such subjects, he must be forgiven if he sometimes wanders in generalities, and utters the same praises over different tombs.

The scantiness of human praises can scarcely be made more apparent, than by remarking how often Pope has, in the few epitaphs which he composed, found it necessary to borrow from bimself. The fourteen epitaphs which he has written, comprise about a hundred and forty lines, in which there are more repetitions than will easily be found in all the rest of his works. In the eight lines which make the character of Digby, there is scarce any thought, or word, which may not be found in the other epitaphs. .

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