never using contractions, and from its custom of resolving the diphthongs into two syllables; so as to make the words open themselves with a more spreading and sonorous fluency. With this he mingled the Attic contractions, the broader Doric, and the feebler Æolic, which often rejects its aspirate, or takes off its accent; and completed this variety by altering some letters with the licence of poetry. Thus his measures, instead of being fetters to his sense, were always in readiness to run along with the warmth of his rapture, and even to give a farther representation of his notions in the correspondence of their sounds to what they signified. Out of all these he has derived that harmony which makes us confess he had not only the richest head, but the finest ear, in the world. This is so great a truth, that whoever will but consult the tune of his verses, even without understanding them (with the same sort of diligence as we daily see practised in the case of Italian operas), will find more sweetness, variety, and majesty of sound than in any other language or poetry. The beauty of his numbers is allowed by the critics to be copied but faintly by Virgil himself, though they are so just to ascribe it to the nature of the Latin tongue: indeed, the Greek has some advantages both from the natural sound of its words, and the turn and cadence of its verse, which agree with the genius of no other language. Virgil was very sensible of this, and used the utmost diligence in working up a more intractable language to whatsoever graces it was capable of; and in particular never failed to bring the sound of his line to a beautiful agreement with its sense. If the Grecian poet has not been so frequently celebrated on this account as the Roman, the only reason is that fewer critics have understood one language than the other. Dionysius of Halicarnassus has pointed out many of our author's beauties in this kind, in his treatise of the Composition of Words, and others will be taken notice of in the course of my notes. It suffices at present to observe of his numbers, that they flow with so much ease as to make one imagine Homer had no other care than to transcribe as fast as the Muses dictated; and at the same time with so much force and inspiriting vigour, that they awaken and raise us like the sound of a trumpet. They roll along as a plentiful river, always in motion, and always full; while we are borne away by a tide of verse, the most rapid, and yet the most smooth imaginable.
Thus, on whatever side we contemplate Homer, what principally strikes us is his invention. It is that which forms the character of each part of his work; and accordingly we find it to have made his fable more extensive
