had more influence than we are apt to think,—the style of the great school which died with him, the form and versification which they had been taught to believe almost essential to the best poetry, and from a traditional respect for which they could hardly free their minds as easily as ourselves. Crabbe used the old heroic rhymed couplet, that simplest form of English verse music, which could rise, nevertheless, to the almost lyric loftiness of the last lines of the Dunciad; so supple and flexible; made for easy simile and compact metaphor; lending itself so perfectly to the sudden flash of wit or turn of humor; the natural shell of an epigram; compelling the poet to practice all the virtues of brevity; checking the wandering fancy, and repressing the secondary thought; requiring in a masterly use of it the employment of more mental powers than any other metrical form; despised and neglected now because the literature which is embodied in it is despised and neglected, yet the best metrical form which intelligence, as distinct from poetical feeling, can employ. Crabbe did not handle it in any masterful way; he was careless, and sometimes slipshod; but when he chose he could employ it
