tion from Dryden's preface to the Eneid, in favour of translating an epick poem into blank verse; but he forgets that when his author attempted the Iliad, some years afterwards, he departed from his own decision, and translated into rhyme.
When he has any objećtion to obviate, or any licence to defend, he is not very scrupulous about what he asserts, nor very cautious, if the present purpose be served, not to entangle himself in his own sophistries. But when all arts are exhausted, like other haunted animals, he sometimes stands at bay; when he cannot disown the grossness of one of his plays, he declares that he knows not any law that prescribes morality to a comic poet.
His remarks on ancient or modern writers are not always to be trusted. His parallel of the versification of Ovid with that of Claudian has been very justly censured by Sewel[1]. His comparison of the first line of Virgil, he says, is soft and gentle, and would have thought Statius mad, if he had heard him thundering out
Quæ superimposito moles geminata colosso.
- ↑ Preface to Ovid's Metamorphoses.Dr. J.
