between monotony and variety in versification, first from Pope, Dryden, and Milton, and next from Gay and Coleridge. The following is the boasted melody of the nevertheless exquisite poet of the _Rape of the Lock_,--exquisite in his wit and fancy, though not in his numbers. The reader will observe that it is literally _see-saw_, like the rising and falling of a plank, with a light person at one end who is jerked up in the briefer time, and a heavier one who is set down more leisurely at the other. It is in the otherwise charming description of the heroine of that poem: On her white breast--a sparkling cross she wore, Which Jews might kiss--and infidels adore; Her lively looks--a sprightly mind disclose, Quick as her eyes--and as unfix’d as those; Favours to none--to all she smiles extends, Oft she rejects--but never once offends; Bright as the sun--her eyes the gazers strike, And like the sun--they shine on all alike; Yet graceful ease--and sweetness void of pride, Might hide her faults--if belles had faults to hide; If to her share--some female errors fall, Look on her face--and you’ll forget them all. Compare with this the description of Iphigenia in one of Dryden’s stories from Boccaccio: It happen’d--on a summer’s holiday, } That to the greenwood shade--he took his way, } For Cymon shunn’d the church--and used not much to pray. } His quarter-staff--which he could ne’er forsake, Hung half before--and half behind his back; He trudg’d along--not knowing what he sought, And whistled as he went--for want of thought. By chance conducted--or by thirst constrain’d, The deep recesses of a grove he gain’d:-- Where--in a plain defended by a wood, } Crept through the matted grass--a crystal flood, } By which--an alabaster fountain stood; } And on the margent of the fount was laid-- Attended by her slaves--a sleeping maid; Like Dian and her nymphs--when, tir’d with sport, To rest by cool Eurotas they resort.-- The dame herself--the goddess well express’d, Not more distinguished by her purple vest-- Than by the charming features of the face-- And e’en in slumber--a superior grace: Her comely limbs--compos’d with decent care, } Her body shaded--by a light cymar, } Her bosom to the view--was only bare; } Where two beginning paps were scarcely spied-- For yet their places were but signified.-- The fanning wind upon her bosom blows-- } To meet the fanning wind--the bosom rose; } The fanning wind--and purling stream--continue her repose. } For a further variety take, from the same author’s _Theodore and Honoria_, a passage in which the couplets are run one into the other, and all of it modulated, like the former, according to the feeling demanded by the occasion: