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In writing EPITAPHs, one circumstance is to be considered, which affects no other compositions; the place in which they are now commonly found restrains them to a particular air of solemnity, and debars them from the admission or all lighter or gayer ornaments. In this it is that the style of an EPITAPH necessarily differs from that of an ELEGY. The custom of burying our dead either in or near our churches, perhaps originally founded on a rational design of fitting the mind for religious exercises, by laying before it the most affecting proof of the uncertainty of life, makes it proper to exclude from our Epitaphs all such allusions as are contrary to the doctrines for the propagation of which the churches are erected, and to the end for which those who peruse the monuments must be supposed to come thither. Nothing is, therefore, more ridiculous than to copy the Roman inscriptions, which were engraven on stones by the highway, and composed by those who generally reflected on mortality only to excite in themselves and others a quicker relish of pleasure, and a more luxurious enjoy. ment of life, and whose regard for the dead extended no farther than a wish that the earth might be light upon them.

All allusions to the heathen mythology are therefore absurd, and all regard for the senseless remains of a dead man impertinent and superstitious. One of the first distinctions of the primitive christians, was their neglect of bestowing garlands on the dead, in which they are very rationally defended by their apologist in Minutius Felix. “ We lavish no flowers nor odours on the dead," says he, “because they have no sense of fragrance or of beauty.”. We profess to reverence the dead, not for their sake, but for our own. It is therefore always with indignation or contempt that I read the epitaph on Cowley, a man, whose learning and poetry were his lowest merits;

Aurea dum late volitant tua scripta per orbemi,
Et fama eternum vivis, divine Poëta,
Hic placida jaceas requie, custodiat urnam
Cana Fides, vigilentque perenni lampade Musa!
Sit sacer ille locus, nec quis temerarius ausit
Sacrilega turbare manu venerabile bustum.
Intacti maneant, maneant per sæcula dulces
COWLEII cineres, serventque immobile saxum.

To pray that the ashes of a friend may lie undisturbed, and that the divinities that favoured him in his life, may watch for ever round him to preserve his tomb from violation, and drive sacrilege away, is only rational in him who believes the soul interested in the

repose

of the body, and the powers which he invokes for its protection able to preserve it.

To censure such expressions as contrary to religion, or as remains of heathen superstition, would be too great a degree of severity. I condemn them only as uninstructing and unaffecting, as too ludicrous for reverence or grief, for christianity and a temple.

That the designs and decorations of monuments ought: likewise to be formed with the same regard to the solemnity of the place, cannot be denied ; it is an established principle, that all ornaments owe their beauty to their propriety. The same glitter of dress that adds

graces to gaiety and youth, would make age and dignity contemptible. Charon, with his boat, is far from heightening the awful grandeur of the universal judgment, though drawn by Angelo himself ; nor is it easy to imagine a greater absurdity than that of gracing the walls of a christian temple with the figure of Mars leading a hero to battle, or Cupids sporting round a virgin. The pope who defaced the statues of the deities at the tomb of Sannazarius, is, in my opinion, more easily to be defended, than he that erected them.

It is for the same reason improper to address the EPITAPH to the passenger, a custom which an injudicious veneration for antiquity introduced again at the revival of letters, and which, among many others, Passeratius suffered to mislead him in his EPITAPH upon the heart of Henry king of France, who was stabbed by Clement the monk, which yet deserves to be inserted, for the sake of showing how beautiful even improprieties may become, in the hands of a good writer;

Adsta, viator, et dole regum vices.
Cor Regis isto conditur sub marmore,
Qui jura Gallis, jura Sarmatis dedit.
Tectus cucullo hunc sustulit sicarins.

Abi, viator, et dole regum vices.

In the monkish ages, however ignorant and unpolished, the EPITAPHS were drawn up with far greater propriety than can be shown in those which more en-, lightened times have produced.

Orate pro, Prima...miserrimi Peccriority

was an address to the last degree střiking and solemn, as it flowed naturally from the religion then believed, and awakened in the reader sentiments of benevolence for the deceased, and of concern for his own happiness. There was nothing trifling or ludicrous, nothing that did not tend to the noblest end, the propagation of piety, and the increase of devotion.

It may seem very superfluous to lay it down as the the first rule for writing EPITAPHS, that the name of the deceased is not to be omitted ; nor should I have thought such a precept necessary, had not the practice of the greatest writers shown, that it has not been sufficiently regarded. In most of the poetical EPITAPHS, the names for whom they were composed, may be sought to no purpose, being only prefixed on the monument. To expose the absurdity of this omission, it is only necessary to ask how the EPITAPHS, which have outlived the stones on which they were inscribed, would have contributed to the information of posterity, had they wanted the names of those whom they celebrated.

In drawing the characters of the deceased, there are no rules to be observed which do not equally relate to other compositions. The praise ought not to be general, because the mind is lost in the extent of any

indefinite idea, and cannot be affected with what it cannot comprehend. When we hear only of a good or great man, we know not in what class to place him, nor have any notion of his character, distinct from that of a thousand others; his example can have no effect upon our conduct, as we have nothing remarkable or eminent to propose to our imitation.

The EPITAPH composedby Ennius, for his own tomb, has both the faults last mentioned ;

Nemo me decoret lacrumis, nec funera, fletit

Faxit. Cur ? volito vivu' per ora virum.

The reader of this Epitaph receives scarce any idéa from it; he neither conceives any veneration for the man to whom it belongs, nor is instructed by what methods this boasted reputation is to be obtained.

Though a sepulchral inscription is professedly a pano egyric, and, therefore, not confined to historical impartiality, yet it ought always to be written with regard to truth. No man ought to be commended for virtues which he never possessed, but whoever is curious to know his faults must inquire after them in other places ; the monuments of the dead are not intended to perpetuate the memory of crimes, but to exhibit patterns of virtue. On the tomb of Mecenas, his luxury is not to be mentioned with his munificence, nor is the proscription to find a place on the monument of Augustus.

The best subject for Epitaphs is private virtue ; virtue exerted in the same circumstances in which the bulk of mankind are placed, and which, therefore, may admit of many imitators. He that has delivered his country from oppression, or freed the world from ignorance and error, can excite the emulation of a very small number; but be that has repelled the temptations of poverty, and disdained to free himself from distress at the

of his virtue, may animate multitudes, by his example, to the same firmness of heart and steadiness of resolution.

expense

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