There are, I think, two schemes of writing, on which the laborious wits of the present time employ their faculties. One is the adaptation of sense to all the rhymes which our language can supply to some word, that makes the burden of the stanza; but this, as it has been only used in a kind of amorous burlesque, can scarcely be censured with much acrimony. The other is the imitation of Spenser, which, by the influence of some men of learning and genius, seems likely to gain upon the age, and therefore deserves to be more attentively considered. To imitate the fictions and sentiments of Spenser can incur no reproach, for allegory is perhaps one of the most pleasing vehicles of instruction. But I am very far from extending the same respect to his diction or his stanza. His style was in his own time allowed to be vicious, so darkened with old words and peculiarities of phrase, and so remote from common use, that Jonson boldly pronounces him _to have written no language_. His stanza is at once difficult and unpleasing; tiresome to the ear by its uniformity, and to the attention by its length. It was at first formed in imitation of the Italian poets, without due regard to the genius of our language. The Italians have little variety of termination, and were forced to contrive such a stanza as might admit the greatest number of similar rhymes; but our words end with so much diversity, that it is seldom convenient for us to bring more than two of the same sound together. If it be justly observed by Milton, that rhyme obliges poets to express their thoughts in improper terms, these improprieties must always be multiplied, as the difficulty of rhyme is increased by long concatenations. The imitators of Spenser are indeed not very rigid censors of themselves, for they seem to conclude, that when they have disfigured their lines with a few obsolete syllables, they have accomplished their design, without considering that they ought not only to admit old words, but to avoid new. The laws of imitation are broken by every word introduced since the time of Spenser, as the character of Hector is violated by quoting Aristotle in the play. It would, indeed, be difficult to exclude from a long poem all modern phrases, though it is easy to sprinkle it with gleanings of antiquity. Perhaps, however, the style of Spenser might by long labour be justly copied; but life is surely given us for higher purposes than to gather what our ancestors have wisely thrown away, and to learn what is of no value, but because it has been forgotten. No. 122. SATURDAY, MAY 18, 1751. Nescio qua natale solum dulcedine captos Ducit. OVID, Ex Pon. Lib. i. Ep. iii. 35. By secret charms our native land attracts. Nothing is more subject to mistake and disappointment than anticipated judgment concerning the easiness or difficulty of any undertaking, whether we form our opinion from the performances of others, or from abstracted contemplation of the thing to be attempted.