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220 which appeal wholly to the fancy, from which we feel delight, but know not how they produce it, and which may well be termed the enchantresses of the soul. Criticism reduces those regions of literature under the dominion of science, which have hitherto known only the anarchy of ignorance, the caprices of fancy, and the tyranny of prescription.

There is nothing in the art of versifying so much exposed to the power of imagination as the accommodation of the sound to the sense, or the representation of particular images, by the flow of the verse in which they are expressed. Every student has innumerable passages, in which he, and perhaps he alone, discovers such resemblances; and since the attention of the present race of poetical readers seems particularly turned upon this species of elegance, I shall endeavour to examine how much these conformities have been observed by the poets, or directed by the criticks, how far they can be established upon nature and reason, and on what occasions they have been practised by Milton.

Homer, the father of all poetical beauty, has been particularly celebrated by Dionysius of Halicarnassus, as he that, of all the poets, exhibited the greatest variety of sound; for there are, says he, ''innumerable passages, in which length of time, bulk of body, extremity of passion, and stillness of repose; or in which, on the contrary, brevity, speed, and eagerness, are evidently marked out by the sound of the syllables. Thus the anguish and slow pace with which the blind Polypheme groped out with his hands the entrance of his cave, are perceived in the cadence of the verses which describe it.''