That what you may confess--
Will implicate no person known to you,
More than disquiet in _its_ sleep may do.--p. 93.

Paulo falls--and the event is announced in these exquisite lines:

Her _aged_ nurse--
Who, shaking her _old_ head, and pressing close
Her withered _lips_ to _keep the tears_ that rose--p. 101.

"By the way," does Mr. Leigh Hunt suppose that the aged nurses of Rimini
weep with their mouths? or does he mistake crying for drivelling?--In
fact, the young lady herself seems to have adopted the same mode of
weeping:

With that, a _keen_ and _quivering glance of_ tears
Scarce moves her _patient mouth_, and disappears.

But to the nurse.--She introduces the messenger of death to the
princess, who communicates his story, in pursuance of her command--

Something, I'm sure, has happened--tell me what--
I can bear all, though _you may fancy not_.
Madam, replied the squire, you are, I know,
All sweetness--_pardon me for saying so_.
My Master bade _me_ say then, resumed _he_,
That _he_ spoke firmly, when he told it _me_,--
That I was also, madam, to your ear
Firmly to speak, and you firmly to hear,--
That he was forced this day, _whether or no_,
To combat with the prince;--'--p. 103.

The _second_ of Mr. Hunt's new principles he thus announces:

With the endeavour to recur to a freer spirit of versification, I have
joined one of still greater importance--that of having a _free and
idiomatic_ cast of language. There is a cant of art as well as of
nature, though the former is not so unpleasant as the latter, which
affects non-affectation.--(What does all this mean?)--But the proper
_language of poetry_ is in fact nothing different from that of real
life, and depends for its dignity upon the strength and sentiment of
what it speaks. It is only adding _musical modulation_ to what a _fine
understanding_ might actually utter in the midst of its griefs or
enjoyments. The poet therefore should do as Chaucer or Shakespeare
did,--not copy what is obsolete or peculiar in either, any more than
they copied from their predecessors,--but use as much as possible an
_actual, existing language,_--omitting of course _mere vulgarisms_ and
_fugitive phrases_, which are the cant of ordinary discourse, just as
tragedy phrases, _dead idioms,_ and exaggerations of dignity, are of
the artificial style, and yeas, verilys, and exaggerations of
simplicity, are of th