{174} The burlesque verse in French, on the contrary, is pretty much the same with the heroic verse of ten syllables in English. Custom has made the one nation associate the ideas of gravity, sublimity, and seriousness, to that measure which the other has connected with whatever is gay, flippant, and ludicrous. Nothing would appear more absurd in English, than a tragedy written in the Alexandrine verses of the French; or in French, than a work of the same kind in hexametery, or verses of ten syllables. An eminent artist will bring about a considerable change in the established modes of each of those arts, and introduce a new fashion of writing, music, or architecture. As the dress of an agreeable man of high rank recommends itself, and how peculiar and fantastical soever, comes soon to be admired and imitated; so the excellencies of an eminent master recommend his peculiarities, and his manner becomes the fashionable style in the art which he practises. The taste of the Italians in music and architecture has, within these fifty years, undergone a considerable change, from imitating the peculiarities of some eminent masters in each of those arts. Seneca is accused by Quintilian of having corrupted the taste of the Romans, and of having introduced a frivolous prettiness in the room of majestic reason and masculine eloquence. Sallust and Tacitus have by others been charged with the same accusation, though in a different manner. They gave reputation, it is pretended, to a style, which though in the highest degree concise, elegant, expressive, and even poetical, wanted, however, ease, simplicity, and nature, and was evidently the production of the most laboured and studied affectation. How many great qualities must that writer possess, who can thus render his very faults agreeable? After the praise of refining the taste of a nation, the highest eulogy, perhaps, which can be bestowed upon any author, is to say, that he corrupted it. In our own language, Mr. Pope and Dr. Swift have each of them introduced a manner different from what was practised before, into all works that are written in rhyme, the one in long verses, the other in short. The quaintness of Butler has given place to the plainness of Swift. The rambling freedom of Dryden, and the correct but often tedious and prosaic languor of Addison, are no longer the objects of imitation, but all long verses are now written after the manner of the nervous precision of Mr. Pope.