Satires, either of the jocose or serious kind, may be written in the epistolary manner, or by way of dialogue. Horace, Juvenal, and Persius, have given us examples of both. Nay, some of Horace's satires may, without incongruity, be called epistles, and his epistles satires. But this is obvious to every reader.

Of the facetious kind, the second satire of the second book of Horace imitated by Mr Pope, and Swift's verses on his own death, may be referred to as examples.

As to those satires of the serious kind, for which Juvenal is so much distinguished, the characteristic properties of which are, morality, dignity, and severity; a better example cannot be mentioned than the poem entitled London, written in imitation of the third satire of Juvenal, by Dr Johnson, who has kept up to the spirit and force of the original.

Nor must we omit to mention Dr Young's Love of Fame the Universal Passion, in seven satires; which, though characteristic, abound with morality and good sense. The characters are well selected, the ridicule is high, and the satire well pointed and to the purpose.

We have already observed, that personal satire approaches too near defamation, to deserve any countenance or encouragement. Dryden's Mock Election is for this reason exceptionable, but as a composition it is inimitable.

We have dwelt thus long on the present subject, because there is reason to apprehend, that the benefits arising from well-conducted satire have not been sufficiently considered. A satire may often do more service to the cause of religion and virtue than a sermon; since it gives pleasure, at the same time that it creates fear or indignation, and conveys its sentiments in a manner the most likely to captivate the mind.

Of all the ways that wisest men could find To mend the age and mortify mankind, Satire well writ has most successful prov'd, And cures, because the remedy is lov'd.

But to produce the desired effect, it must be jocose, free, and impartial, though severe. The satirist should always preserve good-humour; and, however keen he cuts, should cut with kindness. When he loses temper, his weapons will be inverted, and the ridicule he threw at others will retort with contempt upon himself: for the reader will perceive that he is angry and hurt, and consider his satire as the effect of malice, not of judgment; and that it is intended rather to wound persons than reform manners.

Rage you must hide, and prejudice lay down: A satyr's smile is sharper than his frown.

The best, and indeed the only, method to expose vice and folly effectually, is to turn them to ridicule, and hold them up for public contempt; and as it most offends these objects of satire, so it least hurts ourselves. One passion frequently drives out another; and as we cannot look with indifference on the bad actions of men (for they must excite either our wrath or contempt), it is prudent to give way to that which most offends vice and folly, and least affects ourselves; and to sneer and laugh, rather than be angry and foiled.

Burlesque poetry, which is chiefly used by way of burlesque drollery and ridicule, falls properly to be spoken of poetry—under the head of satire. An excellent example of this kind is a poem in blank verse, intitled The Splendid Shilling, written by Mr John Philips, which, in the opinion of one of the best judges of the age, is the finest burlesque in the English language. In this poem the author has handled a low subject in the lofty style and numbers of Milton; in which way of writing Mr Philips has been imitated by several, but none have come up to the humour and happy turn of the original. When we read it, we are betrayed into a pleasure that we could not expect; though, at the same time, the sublimity of the style, and gravity of the phrase, seem to chastise that laughter which they provoke.

There is another sort of verse and style, which is most frequently made use of in treating any subject in a ludicrous manner, viz. that which is generally called Hudibrastic, from Butler's admirable poem intitled Hudibras. Almost every one knows, that this poem is a satire upon the authors of our civil dissensions in the reign of King Charles I., wherein the poet has, with abundance of wit and humour, exposed and ridiculed the hypocrisy or blind zeal of those unhappy times. In short, it is a kind of burlesque epic poem, which, for the oddity of the rhymes, the quaintness of the families, the novelty of the thoughts, and that fine raillery which runs through the whole performance, is not to be paralleled.

SECT. XI. Of the Epigram.

The epigram is a little poem, or composition in verse, Character treating of one thing only, and whose distinguishing cha- of the epigram.

The word epigram signifies "inscription;" for epigrams derive their origin from those inscriptions placed by the ancients on their statues, temples, pillars, triumphal arches, and the like; which, at first, were very short, being sometimes no more than a single word; but afterwards, increasing their length, they made them in verse, to be the better retained by the memory. This short way of writing came at last to be used upon any occasion or subject; and hence the name of epigram has been given to any little copy of verses, without regard to the original application of such poems.

Its usual limits are from two to twenty verses, though sometimes it extends to fifty; but the shorter, the better it is, and the more perfect, as it partakes more of the nature. Epigram nature and character of this kind of poem: besides, the epigram, being only a single thought, ought to be expressed in a little compass, or else it loses its force and strength.

The beauty required in an epigram is an harmony and apt agreement of all its parts, a sweet simplicity and polite language.

The point is a sharp, lively, unexpected turn of wit, with which an epigram ought to be concluded. There are some critics, indeed, who will not admit the point in an epigram; but require that the thought be equally diffused through the whole poem, which is usually the practice of Catullus, as the former is that of Martial. It is allowed there is more delicacy in the manner of Catullus; but the point is more agreeable to the general taste, and seems to be the chief characteristic of the epigram.

This sort of poem admits of all manner of subjects, provided that brevity, beauty, and point, are preferred; but it is generally employed either in praise or satire.

Though the best epigrams are said to be such as are comprised in two or four verses, we are not to understand it as if none can be perfect which exceed those limits. Neither the ancients nor moderns have been so scrupulous with respect to the length of their epigrams; but, however, brevity in general is always to be studied in these compositions.

For examples of good epigrams in the English language, we shall make choice of several in the different tastes we have mentioned; some remarkable for their delicate turn and simplicity of expression; and others for their salt and sharpness, their equivocating pun, or pleasant allusion. In the first place, take that of Mr Pope, said to be written on a glass with the earl of Chesterfield's diamond-pencil.

Accept a miracle, instead of wit; See two dull lines by Stanhope's pencil writ.

The beauty of this epigram is more easily seen than described; and it is difficult to determine, whether it does more honour to the poet who wrote it, or to the nobleman for whom the compliment is designed.—The following epigram of Mr Prior is written in the same taste, being a fine encomium on the performance of an excellent painter.

Flower, painted by VARELST.

When fam'd Varelst this little wonder drew,