which I think fcarcely any beauty can compenfate. The name is omitted. The end of an epitaph is to convey fome account of the dead; and to what purpose is any thing told of him whofe name is. concealed? An epitaph, and a history, of a nameless hero, are equally abfurd, fince the virtues and qualities fo recounted in either, are scattered at the mercy of fortune to be appropriated by guefs. The name, it is true, may be read upon the stone; but what obligation has it to the poet, whofe verfes wande over the earth, and leave their subject: behind them, and who is forced, like am unfkilful painter, to make his purpose known by adventitious help?

This epitaph is wholly without elevavation, and contains nothing ftriking or particular; but the poet is not to be blamed for the defects of his fubject.

He

He faid perhaps the beft that could be faid. There are, however, fome defects which were not made neceffary by the character in which he was employed. There is no opposition between an honest courtier and a patriot; for an honeft courtier cannot but be a patriot.

It was unfuitable to the nicety required in fhort compofitions, to close his verfe with the word too; every rhyme fhould be a word of emphafis, nor can this rule be fafely neglected, except where the length of the poem makes flight inaccuracies excufable, or allows room for beauties fufficient to overpower the effects of petty faults.

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

The

The thought in the laft 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 fentiment had been juft and pathetical; but why should Trumbul be congratulated upon his liberty, who had never known reftraint?

III.

On the Hon. SIMON HARCOURT, only Son of the Lord Chancellor HARCOURT, at the Church of Stanton-Harcourt in Oxfordshire, 1720.

To this fad fhrine, whoe'er thou art, draw near, Here lies the friend moft lov'd, the fon moft dear:

* Bernardi.

Who

Who ne'er knew joy, but friendship might divide,

Or gave his father grief but when he dy'd.

- How vain is reafon, eloquence how weak!

If Pope must tell what Harcourt cannot speak. Oh, let thy once-lov'd friend infcribe thy ftone, And with a father's forrows mix his own!

This epitaph is principally remarkable for the artful introduction of the name, which is inferted with a peculiar felicity, to which chance muft concur with genius, which no man can hope to attain twice, and which cannot be copied but with fervile imitation.

I cannot but wish that, of this infcription, the two laft lines had been omitted, as they take away from the energy what they do not add to the !fenfe.

IV.

On JAMES CRAGGS, Efq; in Westminster

Abbey.

JACOBVS CRAGGS,

REGI MAGNAE BRITANNIAE A SECRETIS

ET CONSILIIS SANCTIORIBVS,

PRINCIPIS PARITER AC POPULI AMOR ET

DELICIAE:

VIXIT TITVLIS ET INVIDIA MAJOR,

ANNOS HEV PAVCOS, XXXV.

OB. FEB. XVI. MDCCXX.

Statefiman, yet friend to truth! of foul fincere, In action faithful, and in honour clear! Who broke no promise, ferv'd no private end, Who gain'd no title, and who loft no friend; Ennobled by himself, by all approv'd,

Prais'd, wept, and honour'd, by the Mufe he lov'd.

The lines on Craggs were not originally intended for an epitaph; and therefore fome faults are to be imputed to

the