To shun the Repetition of the same Words, as much as possible, is a Precept not only applicable to Poets, but to all other Writers; because the same Sounds tire the Ears of the Reader. Here those Figures of Elegance, the Epizeuxis and Anadiplosis, are manifestly excepted. Some, however, out of a Detestation of this Fault, fall into a greater; and in their Zeal for Variety, by wresting Words from their natural Signification, are guilty of the very worst Fault in Writing, Obscurity. The best Writers never run into this Extreme, but chuse rather to repeat the same Words, than use others in an improper Sense, as may be seen very frequently in Virgil. It is probable, indeed, a Desire of Elegance first brought in a Diversity of Words; for if Convenience only were considered, each Conception of the Mind would have but a single Word appropriated to it: Whereas now, in learning a new Language, to our great Trouble we find many Words affixed to one Idea, or many Ideas to one Word. Nor is Disagreeableness of Sound to be avoided only in the Repetition of the same Words, but often (for the Rule does not always hold) in using different Words of the same Termination. As these in Juvenal:
—tarda per densa cadavera prorâ.
'Tis certain, in poetical Compositions we ought to have great Regard to Harmony, and to endeavour to captivate the Ear, as well as please the Imagination of our Readers. For tho' nothing is more contemptible than versus inopes rerum, nugæque canoræ, poor shallow Verse, mere bubbling Trifles, that have no other Recommendation but Sound; yet they err, on the other Hand, who have a View only to the Sense, and none to the Musick that should echo to it. This was the Case of many of our Countrymen, of Couley, particularly, and others of the last Age; who, studious only for the Beauty of Thought, neglected, or did not rightly understand the Melody of Verse: Till at length our Dryden arose, who added to English Poetry what it only wanted, Numbers, Harmony, and Accuracy; by which Means, if we are not too partial in our Judgment of ourselves, it now bears the Laurel from all the Nations in Europe.
The best Poets among the Antients were solicitous about the Disposal of their Words, as well as the Choice of them. It is an Elegance, which, tho' often unobserved, pleases the Mind insensibly. And yet any one, with the least Attention, will perceive, that there's not a little Difference, whether the same Word is placed in one Part of a Verse, or another. How much, for Instance; would that of Virgil
Admonet in somnis, & turbida terret imago
suffer in the Change, if it were read,
—& imago turbida terret!
Various Examples there are, of this Sort, which it would be needless to alledge. But I would here observe, that the Harmony of Verse does not only consist in its being free from all Asperity, and flowing gently with one steddy Course: Some Asperity is often necessary; a Poem may labour for the Want of, and offend the Ears even with its Smoothness. Many, therefore, much wrong their Judgment, who prefer Ovid, Claudian, and others, to Virgil, on this Account; because, forsooth, they find less Roughness in their Verse: Whereas the very Want of this is their Defect; and Virgil does not more excel them in Versification, than in every other Requisite of a good Poet. He is generally harmonious, full, and fluent; and if he does not always keep one even Tenor, this is not owing to any Inability, but, as we observed before, in another Particular, the Effect of his Choice. He knew it would be more grateful to his Reader to change, now and then, the usual Smoothness of Style, and mix with it somewhat of an agreeable Harshness. His Periods, likewise, he concludes very variously; generally, indeed, where the Verse ends, but often in different Parts of it, with this Foot or that, as the Sound requires. In the Conduct of this Variety, of as small a Moment as it may seem, there's no little Labour, nor less Elegance. It is rarely aimed at by Ovid, Claudian, Statius, and the rest, who fall short of Virgil in that boasted Sweetness of Verse, whenever his Subject demands it of him. It is a great Mistake to think Ovid's Negligence is a Matter of Merit, and that his Verses flow with the more Ease, for his Want of Care in their Composition; because, as it is urged, they are not so much the Effect of Study, as of Nature. Every Excellence in Writing must proceed from both; the more a Poem is laboured, the more natural it shall often seem; and its Stiffness may be owing to Neglect. To illustrate what I have said of Virgil, by one Example, out of many: In which of the abovemention'd Poets shall we find any Lines, I will not say that exceed in Harmony and Softness his Description of Orpheus and Eurydice, but come near it? The whole is sweet; but nothing can be more so than the following Part of it.
[72] Illa quidem Stygia nabat jam frigida cymba: Septem illum totos perhibent ex ordine menses, Rupe sub aëria, deserti ad Strymonis undam, Flevisse, & gelidis hæc evolvisse sub antris, Mulcentem tigres, & agentem carmine quercus. Qualis populea mœrens Philomela sub umbra Amissos queritur fœtus, quos durus arator, Observans, nido implumes detraxit; at illa Flet noctem, ramoque sedens miserabile carmen Integrat, & mœstis late loca questibus implet.
She, shiv'ring, in the Stygian Sculler sail'd: He, sev'n whole Months, 'tis said, beneath a bleak Aerial Cliff, on Strymon's Desart Bank, Wept lonesome; and in freezing Caves revolv'd This mournful Tale; while crouding Oaks admir'd His Lays, and Tygers soften'd at the Sound. As when, complaining in melodious Groans, Sweet Philomel beneath a Poplar Shade, Mourns her lost Young; which some rough Village Hind Observing, from their Nest, unfledg'd, has stole: She weeps all Night; and perch'd upon a Bough, With plaintive Notes repeated fills the Grove.