The present form of our English heroic rhyme in couplets, is a modern species of versification. The measure generally used in the days of queen Elizabeth, king James, and king Charles I. was the stanza of eight lines, such as Spenser employs, borrowed from the Italian, a measure very constrained and artificial. Waller was the first who brought couplets into vogue;[8] and Dryden afterwards established the usage. Waller first smoothed our verse; Dryden perfected it. Pope’s versification has a peculiar character. It is flowing and smooth in the highest degree; far more laboured and correct than that of any who went before him. He introduced one considerable change into heroic verse, by almost throwing aside the triplets, or three lines rhyming together, in which Dryden abounded. Dryden’s versification, however, has very great merit; and like all his productions, has much spirit, mixed with carelessness. If not so smooth and correct as Pope’s, it is however more varied and easy. He subjects himself less to the rule of closing the sense with the couplet; and frequently takes the liberty of making his couplets run into one another, with somewhat of the freedom of blank verse. Footnote 8: Shakespeare, occasionally, in his plays, uses couplets. M. COQUEBERT DE MONTBRET. This gentleman was one of the commercial commissioners from France to England during the short peace which took place after the treaty of Amiens. In March, 1803, I was in company with M. de Montbret, who expressed his dissatisfaction in very angry terms, because he was not able to procure specimens of the different clays made use of by Mr. Wedgwood in his manufacture of earthen ware in Staffordshire. He urged with much vehemence the politeness and attention that were shewn to Mr. Thomas Wedgwood in France the preceding summer, when on a visit to that country, and who it appeared had made something like a promise that he would send to France specimens of the various clays made use of in the potteries. In answer to Monsieur de Montbret it was observed, that Mr. Thomas Wedgwood had no concern whatever in the potteries, and that his brother, Mr. Josiah Wedgwood, who was the proprietor, would never give his consent that specimens of the clays should be sent to France, but on the contrary always strongly resisted every application for that purpose. M. de Montbret replied, that as clay was a natural production, if there was not that particular sort in France, it would be impossible to form it by any artificial means—besides, he only wished to have those things as specimens of English earths, merely with a view of forming a collection of the earths and minerals of this country. DR. THOMAS PIERCE.