If Hudibras had been set out with as much Wit and Humour in Heroic Verse as he is in Doggerel, he would have made a much more agreeable Figure than he does; though the generality of his Readers are so wonderfully pleased with the double Rhymes, that I do not expect many will be of my Opinion in this Particular.
I shall conclude this Essay upon Laughter with observing that the Metaphor of Laughing, applied to Fields and Meadows when they are in Flower, or to Trees when they are in Blossom, runs through all Languages; which I have not observed of any other Metaphor, excepting that of Fire and Burning when they are applied to Love. This shows that we naturally regard Laughter, as what is in itself amiable and beautiful. For this Reason likewise Venus has gained the Title of . . . the Laughter-loving Dame, as Waller has Translated it, and is represented by Horace as the Goddess who delights in Laughter. Milton, in a joyous Assembly of imaginary Persons, has given us a very Poetical Figure of Laughter. His whole Band of Mirth is so finely described, that I shall set down the Passage at length.
But come thou Goddess fair and free,
In Heaven ylcleped Euphrosyne,
And by Men, heart-easing Mirth,
Whom lovely Venus at a Birth
With two Sister Graces more
To Ivy-crowned Bacchus bore:
Haste thee, Nymph, and bring with thee
Jest and youthful Jollity,
Quips and Cranks, and wanton Wiles,
Nods, and Becks, and wreathed Smiles,
Such as hang on Hebe's Cheek,
And love to live in Dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his Sides.
Come, and trip it, as you go,
On the light fantastic Toe:
And in thy right Hand lead with thee
The Mountain Nymph, sweet Liberty;
And if I give thee Honour due,
Mirth, admit me of thy Crew,
To live with her, and live with thee,
In unreproved Pleasures free.
