less, but it is sometimes vigorous and weighty.
The strongest effort of his Muse is his poem upon Nothing. He is not the first who has chosen this barren topick for the boast of his fertility. There is a poem called Nihil in Latin by Passerat, a poet and critick of the sixteenth century in France; who, in his own epitaph, expresses his zeal for good poetry thus:
—Molliter offa quiescent
Sint modo carminibus non onerata malis.
His works are not common, and therefore I shall subjoin his verses.
In examining this performance, Nothing must be considered as having not only a negative but a kind of positive signification; as I need not fear thieves, I have nothing, and nothing is a very powerful protector. In the first part of the sentence it is taken negatively; in the second it is taken positively, as an agent. In one of Boileau's lines it was a question, whether he should use à rien faire, or à ne rien faire; and the first was preferred because it gave rien a sense in some sort positive. Nothing can be
