Nor the bleak North torments th'Appulian Woods. Creech.
Not a little elegant is this Manner of Writing, since, by an agreeable Variety of Particulars, it continually represents to the Mind somewhat new, and sets before it fresh Entertainment; whereas Generals, being always the same, grow cold and lifeless, by their too frequent Repetition.
Tho' Oratory may seem to be more adapted to express our Conceptions, as being not confined by the Fetters of Metre; yet Poetry, it is certain, makes a stronger Impression upon the Mind, and conveys a livelier Image to the Imagination, and that at once with such Elegance and Brevity, as the Force of Prose can never come up to. In Proof of this, I might produce Multitudes of Examples; but none more full than that of Horace,
[47] ——enitescis Pulchrior multo, juvenumque prodis Publica cura.
And still shine out more bright and fair, The publick Grief, and publick Care. Oldsworth.
A Passage, this, entirely poetical, and not only beautiful in itself, but more proper to convey an Idea of the Thing intended, than all that the Power of Oratory can furnish.
To the Style of Poetry Descriptions likewise are almost peculiar. 'Tis true, they occur frequently in Prose; but then they are used either with Impropriety, or with Caution; or the Writings themselves are of a Kind that borders near upon Poetry, and therefore borrows Descriptions from it. Historians, indeed, describe Things, Places, and Persons; but not so much for the Sake of Ornament, as Necessity; that the Series of their Narration may appear clear and perspicuous to their Readers. Orators likewise attempt Descriptions, when they have Occasion for them to work upon the Passions. But neither the one nor the other affect them as a Decoration to their Writings, which Poets generally do very successfully, making use of these sort of Colourings, either of general Things or Particulars, in Miniature or at full Length, as Occasion serves, not only with a Design to move the Passions, but to please the Fancy. Great Judgment is required in the due Exercise of this Art, and a puerile Wit never betrays itself more apparently, than by forcing in Descriptions, out of mere Ostentation, that have no Connection with the Subject, and are consequently a Burden to it. But nothing is more beautiful, when a proper Choice is made of them; nothing more agreeable to the Nature of Poetry; few Things more peculiar to it. A Prose Writer does not only on Purpose use fewer Descriptions than the Poet, but in Reality is less capable of them. The very Essence of Poetry consists chiefly in Imitation; and such a Power it has in placing Things before the Eye of the Reader, as Prose entirely wants; and can be conceived only, not expressed[48]. An Historian might record the Omens and Prodigies that attended the Death of Julius Cæsar; but it is impossible he should come up to that admirable Description of them Virgil has left us. He might recount, for instance, the surprizing Eruption of Mount Ætna; but could never find out Words to represent it in so lively Colours as these,
[49] —Quoties Cyclopum effervere in agros Vidimus undantem, ruptis fornacibus, Ætnam, Flammarumque globos, liquefactaque volvere saxa?
How oft have we beheld Loud thund'ring Ætna from Vulcano's burst, Deluge with liquid Fire Cyclopean Fields, And toss huge Balls of Flame, and molten Stones?
Were an Historian to relate the Circumstance, in the Fourth Book of Virgil's Æneis, he would tell us at once, that Dido had struggled long with a secret Passion for Æneas; but no Expressions out of Verse, could fix in the Mind so strong a Sense of that inward Disease with which she labour'd, as those wonderful Lines at the Beginning of the Narrative: