Religion! what treasure untold

Resides in that heavenly word!

More precious than silver and gold,

Or all that this earth can afford.

But the sound of the church-going bell

These valleys and rocks never heard,

N e' er sighed at the sound of a knell,

Or smiled when a sabbath appeared.

Ye winds, that have made me your sport

Convey to this desolate shore

Some cordial endearing report

of a land I must visit no more.

My Friends, do they now and then send

A wish or a thought after me?

o tell me I yet have a friend,

Though a friend I am never to see.

This passage is quoted as an instance of three different styles of composition. The first

four lines are poorly expressed; some Critics would call the language prosaic; the fact is,

it would be bad prose, so bad, that it is scarcely worse in metre. The epithet 'church-

going' applied to a bell, and that by so chaste a writer as Cowper, is an instance of the

strange abuses which Poets have introduced into their language, till they and their Readers

take them as matters of course, if they do not single them out expressly as objects of

admiration. The two lines 'Ne'er sighed at the sound,' &c., are, in my opinion, an instance

of the language of passion wrested from its proper use, and, from the mere circumstance

of the composition being in metre, applied upon an occasion that does not justifY such

violent expressions; and I should condemn the passage, though perhaps few Readers will

agree with me, as vicious poetic diction. The last stanza is throughout admirably

expressed: it would be equally good whether in prose or verse, except that the Reader has

an exquisite pleasure in seeing such natural language so naturally connected with metre.

The beauty of this stanza tempts me to conclude with a principle which ought never to be

lost sight of, and which has been my chief guide in all I have said,-namely, that in works

of imagination and sentiment, for of these only have I been treating, in proportion as ideas

and feelings are valuable, whether the composition be in prose or in verse, they require

and exact one and the same language. Metre is but adventitious to composition, and the

phraseology for which that passport is necessary, even where it may be graceful at all,

will be little valued by the judicious.

8

Famous Prefaces.