a species of composition, which, though a great engine of ridicule, is not confined to the ridiculous alone; 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 risible, as in Virgil Tractae; the author laughing at every turn in order to make his readers also laugh. The Lutrin is a burlesque poem of the other sort, laying hold of a low and trifling incident in order 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 broad 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 be admitted, 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, 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 compositions to raise sympathy, for which 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.