In all these, an unexpected conclusion from the premises, or accounting for effects by fanciful causes, excites that sudden emotion of surprise, which is the surest mark of a witty conception,

I have purposely selected some ludicrous and some serious instances, to show that in this branch of wit, as well as in that arising from comparison, the effect may vary without essentially altering its quality.

These brief observations on the nature of wit in general, are not offered either as new, or as sufficient for the accurate discussion of so nice a subject; but they appeared necessary to introduce our particular remarks upon the class of witty and ingenious songs; and I shall now proceed to them.

An artificial turn of thought was at one time so much the fashion in songwriting, that, as before observed, Mr. Phillips seems to consider it as essential to this species of composition. This unavoidably led him to take notice of the difficulty in distinguishing between song

and epigrnm, yet he has done nothing towards removing it. like manner as the

The truth is, that in passionate song is

sometimes entirely the same with the amorous ode, so the witty end ingenious song is entirely the same with the epigram. Yet, in this case, as well as in the former, there are peculiar characters of each, which in general render it sufficiently obvious what name to apply.

The epigram is a single piece of wit, put into verse. Its perfection consits in great brevity, ease and perspicuity of language, and in such a manner of conducting the thought as to conclude with that striking turn which constitutes the point of wit. Its most happy subject seems to be laughable satire, and the species of wit most proper to it, that depending upon the artificial turn of a thought within itself, and not a figure of comparison. A song has been defined to consist also of a single thought, but divided into returning portions of measure, so as to be fitted for music. Its subject has been in general restricted to love and gaiety, and its

poetical character ought not to depend upon harmony of versification alone, but upon some of those ornamental figures which elevate sentiment and description. above the pitch of ordinary language. Hence the wit most proper to songwriting is of that kind which arises from imagery and comparison, and a mere repartee in verse will not come up to the strain of poetry expected in a song. For this reason I should not hesitate to pronounce the little French piece which Mr. Phillips says passes abroad for an excellent song, an epigram and no song.

Thou speakest always ill of me,

I speak always well of thee;

Yet spite of all our noise and pother,
The world believes nor one nor t'other.

Here is not one circumstance which agrees with the true character of songwriting. When the epigram is upon a subject within the province of love or wine, and its measure has the variety and uniformity which suits the union with music, it becomes much more dubious by

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what term to distinguish it. There is an extremely apt instance in Congreve's Double Dealer, (Act III. Scene 10.) not only with respect to the piece itself, but his own opinion of this difficulty, which is given by the mouth of one of the cha

racters.

Brisk. ""Tis not a song neither—'tis a sort of epigram, or rather an epigrammatic sonnet; I don't know what to call it, but its satire.”

Ancient Phillis has young graces,
'Tis a strange thing, but a true one,
Shall I tell you how?

She herself makes her own faces,

And each morning wears a new one;
Where's the wonder now?

In the following Collection several instances of this kind will be met with, which the circumstance of measure alone has determined me without scruple to admit in the rank of songs. I cannot point out a more complete example than a piece of Lord Lansdowne's;

Chloe's the wonder of her sex.

It is universally agreed that absolute singleness of thought is essential to the epigram. Whether this rule be so strictly applicable to the song, will admit of some discussion. Mr. Phillips very justly censures the great licentiousness of Cowley, and some of our most witty poets, in the variety of thoughts which they admit into their songs. A succession of new ideas started in every line, just touched upon, and immediately lost, distracts the attention, and enfeebles the effect of the whole; and amidst the profusion of ornament, real elegance and beauty is overwhelmed. Yet if the ornamental character of Lyric poetry be considered, it will not perhaps appear inconsistent with a just taste, that the single original. thought, which is the foundation of every piece, may through the course of several stanzas be enlivened with a moderate variety of imagery, if the general tendency of the whole be similar, and if the most striking point be reserved for the conclusion. Wit, indeed, in its highest perfection, is a rarity of too rich a