I am sure that the
French poets deserve a great deal of credit for producing such masterpieces
of versification from a language, which, however elegant, is the least
poetical in Europe; which allows little or no inversion, scarce any poetic
license, no _enjambement_, compels a fixed caesura; has in horror the
hiatus; and in fine is subject to the most rigorous rules, which can on no
account be infringed; which rejects hyperbole; which is measured by
syllables, the pronunciation of which is not felt in prose; compels the
alternative termination of a masculine or feminine rhyme; and with all this
requires more perhaps than any other language that cacophony be sedulously
avoided. Such are the difficulties a French poet has to struggle with; he
must unite the most harmonious sound with the finest thought. In Italian
very often the natural harmony of the language and the music of the sound
conceal the poverty of the thought; besides Italian poetry has innumerable
licenses which make it easy to figure in the Tuscan Parnassus, and where
anyone who can string together _rime_ or _versi sciolti_ is dignified with
the appellation of a poet; whereas from French poetry, a mediocrity is and
must be of necessity banished.
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