a species of composition, which, though a great engine of ridicule, is not confined to that. Burlesque that subject; for it is clearly distinguishable into burlesque that excites laughter merely, and burlesque that excites derision or ridicule. A grave subject, in which there is no impropriety, may be brought down by a certain colouring so as to be ridiculous, as in Virgil's tragedies; the author first laughs at every turn, in order to make his readers laugh. The Lutrin is a burlesque poem of the other sort, laying hold of a low and trifling incident to expose the luxury, indolence, and contentious spirit, of a set of monks. Boileau, the author, turns the subject into ridicule, by dressing it in the heroic style, and affecting to consider it as of the utmost dignity and importance. Though ridicule is the poet's aim, he always carries a grave face, and never once betrays a smile. The opposition between the subject and the manner of handling it, is what produces the ridicule; and therefore, in a composition of this kind, no image professedly ludicrous ought to have quarter, because such images destroy the contrast.

Though the burlesque that aims at ridicule produces its effects by elevating the style far above the subject; yet the poet ought to confine himself to such images as are lively, and readily apprehended. A strained elevation, soaring above the ordinary reach of fancy, makes not a pleasant impression. The mind is soon disgusted by being kept long on the stretch. Machinery may be employed in a burlesque poem, such as the Lutrin, the Dispensary, or Hudibras, with more success and propriety than in any other species of poetry. For burlesque poems, though they assume the air of history, give entertainment chiefly by their pleasant and ludicrous pictures: it is not the aim of such a poem to raise sympathy; and for that reason, a strict imitation of nature is not necessary. And hence, the more extravagant the machinery in a ludicrous poem, the more entertainment it affords.