perhaps, as the exciteman, publican, and barber happen to be, or not to be, zealous politicians, and readers of the weekly newspaper pro bono publico. Anterior to cultivation the lingua communis of every country, as Dante has well observed, exists every where in parts, and no where as a whole. Neither is the case rendered at all more tenable by the addition of the words, “in a state of excitement.” For the nature of a man’s words, where he is strongly affected by joy, grief, or anger, must necessarily depend on the number and quality of the general truths, conceptions and images, and of the words expressing them, with which his mind had been previously stored. For the property of passion is not to create; but to set in increased activity. At least, whatever new connections of thoughts or images, or--(which is equally, if not more than equally, the appropriate effect of strong excitement)--whatever generalizations of truth or experience the heat of passion may produce; yet the terms of their conveyance must have pre-existed in his former conversations, and are only collected and crowded together by the unusual stimulation. It is indeed very possible to adopt in a poem the unmeaning repetitions, habitual phrases, and other blank counters, which an unfurnished or confused understanding interposes at short intervals, in order to keep hold of his subject, which is still slipping from him, and to give him time for recollection; or, in mere aid of vacancy, as in the scanty companies of a country stage the same player pops backwards and forwards, in order to prevent the appearance of empty spaces, in the procession of Macbeth, or Henry VIII. But what assistance to the poet, or ornament to the poem, these can supply, I am at a loss to conjecture. Nothing assuredly can differ either in origin or in mode more widely from the apparent tautologies of intense and turbulent feeling, in which the passion is greater and of longer endurance than to be exhausted or satisfied by a single representation of the image or incident exciting it. Such repetitions I admit to be a beauty of the highest kind; as illustrated by Mr. Wordsworth himself from the song of Deborah. At her feet he bowed, he fell, he lay down: at her feet he bowed, he fell: where he bowed, there he fell down dead. Judges v. 27. CHAPTER XVIII Language of metrical composition, why and wherein essentially different from that of prose--Origin and elements of metre--Its necessary consequences, and the conditions thereby imposed on the metrical writer in the choice of his diction.