entrance to their exit.  To those who are acquainted with their productions, it is needless to speak of the fatigue that is produced by this unceasing summons to admiration, or of the compassion which is excited by the spectacle of these eternal strainings and distortions.  Those authors appear to forget, that a whole poem cannot be made up of striking passages; and that the sensations produced by sublimity, are never so powerful and entire, as when they are allowed to subside and revive, in a slow and spontaneous succession.  It is delightful, now and then, to meet with a rugged mountain, or a roaring stream; but where there is no funny slope, nor shaded plain, to relieve them—­where all is beetling cliff and yawning abyss, and the landscape presents nothing on every side but prodigies and terrors—­the head is apt to gow giddy, and the heart to languish for the repose and security of a less elevated region.

The effect even of genuine sublimity, therefore, is impaired by the injudicious frequency of its exhibition, and the omission of those intervals and breathing-places, at which the mind should be permitted to recover from its perturbation or astonishment:  but, where it has been summoned upon a false alarm, and disturbed in the orderly course of its attention, by an impotent attempt at elevation, the consequences are still more disastrous.  There is nothing so ridiculous (at least for a poet) as to fail in great attempts.  If the reader foresaw the failure, he may receive some degree of mischievous satisfaction from its punctual occurrence; if he did not, he will be vexed and disappointed; and, in both cases, he will very speedily be disgusted and fatigued.  It would be going too far, certainly, to maintain, that our modern poets have never succeeded in their persevering endeavours at elevation and emphasis; but it is a melancholy fact, that their successes bear but a small proportion to their miscarriages; and that the reader who has been promised an energetic sentiment, or sublime allusion, must often be contented with a very miserable substitute.  Of the many contrivances they employ to give the appearance of uncommon force and animation to a very ordinary conception, the most usual is, to wrap it up in a veil of mysterious and unintelligible language, which flows past with so much solemnity, that it is difficult to believe it conveys nothing of any value.  Another device for improving the effect of a cold idea, is, to embody it in a verse of unusual harshness and asperity.  Compound words, too, of a portentous sound and conformation, are very useful in giving an air of energy and originality; and a few lines of scripture, written out into verse from the original prose, have been found to have a very happy effect upon those readers to whom they have the recommendation of novelty.