But it must be remembered that at the time when they assumed this greater licence, the normal structure of English verse was anything but fixed. Horace had in his contemporaries, Persius and Juvenal had still more in their forerunners, examples of versification than which Mr. Pope himself could do nothing more “correct”; and their licences could therefore be kept within measure, and still be licentious enough to suit any preconceived idea of the ungirt character of the Satiric muse. In Donne’s time the very precisians took a good deal of licence: the very Virgils and even Ovids were not apt to concern themselves very greatly about a short vowel before s with a consonant, or a trisyllable at the end of a pentameter. If therefore you meant to show that you were sans gêne, you had to make demonstrations of the most unequivocal character. Even with all this explanation and allowance it may still seem probable that Donne’s Satires never received any formal preparation for the press, and are in the state of rough copy. Without this allowance, which the eighteenth century either did not care or did not know how to give, it is not surprising that they should have seemed mere monstrosities.
The satiric pieces in which these peculiarities are chiefly shown, which attracted the attention
