Of genius, that power which constitutes a poet; that quality without which judgment is cold, and knowledge is inert; that energy which collects, combines, amplifies, and animates; the superiority must, with some hesitation, be allowed to Dryden. It is not to be inferred that of this poetical vigour Pope had only a little, because Dryden had more; for every other writer since Milton must give place to Pope; and even of Dryden it must be said that, if he has brighter paragraphs, he has not better poems. Dryden's performances were always hasty, either excited by some external occasion, or extorted by domestic necessity; he composed without consideration, and published without correction. What his mind could supply at call, or gather in one excursion, was all that he sought, and all that he gave. The dilatory caution of Pope enabled him to condense his sentiments, to multiply his images, and to accumulate all that study might produce or chance might supply. If the flights of Dryden therefore are higher, Pope continues longer on the wing. If of Dryden's fire the blaze is brighter, of Pope's the heat is more regular and constant. Dryden often surpasses expectation, and Pope never falls below it. Dryden is read with frequent astonishment, and Pope with perpetual delight. This parallel will, I hope, when it is well considered, be found just; and if the reader should suspect me, as I suspect myself, of some partial fondness for the memory of Dryden, let him not too hastily condemn me; for meditation and inquiry may, perhaps, show him the reasonableness of my determination.

The Works of Pope are now to be distinctly examined, not so much with attention to slight faults or petty beauties, as to the general character and effect of each performance.

It seems natural for a young poet to initiate himself by pastorals, which, not professing to imitate real life, require no experience; and, exhibiting only the simple operation of unmingled passions, admit no subtle reasoning or deep inquiry. Pope's pastorals are not, however, composed but with close thought; they have reference to the times of the day, the seasons of the year, and the periods of human life. The last, that which turns the attention upon age and death, was the author's favourite. To tell of disappointment and misery, to thicken the darkness of futurity and perplex the labyrinth of uncertainty, has been always a delicious employment of the poets. His preference was probably just. I wish, however, that his fondness had not overlooked a line in which the Zephyrs are made to lament in silence. To charge these pastorals with wane of invention, is to require what was never intended. The imitations are so ambitiously frequent, that the writer evidently means rather to show his literature than his wit. It is surely sufficient for an author of sixteen, not only to be able to copy the poems of antiquity with judicious selection, but to have obtained sufficient power of language, and skill in metre, to exhibit a series of versification which had in English poetry no precedent, nor has since had an imitation.

The design of "Windsor Forest" is evidently derived from "Cooper's Hill," with some attention to Waller's poem on "The Park;" but Pope cannot be denied to excel his masters in variety and elegance, and the art of interchanging description, narrative, and morality. The objection made by Dennis is the want of plan, of a regular subordination of parts terminating in the principal and original design. There is this want in most descriptive poems, because as the scenes, which they must exhibit successively, are all subsisting at the same time, the order in which they are shown must by necessity be arbitrary, and more is not to be expected from the last part than from the first. The attention, therefore, which cannot be detained by suspense, must be excited by diversity, such as this poem offers to its reader. But the desire of diversity may be too much indulged; the parts of "Windsor Forest" which deserve least praise are those which were added to enliven the stillness of the scene—the appearance of Father Thames, and the transformation of Lodona. Addison had in his "Campaign" derided the rivers that "rise from their oozy beds" to tell stories of heroes; and it is therefore strange that Pope should adopt a fiction not only unnatural, but lately censured. The story of Lodona is told with sweetness; but a new metamorphosis is a ready and puerile expedient; nothing is easier than to tell how a flower was once a blooming virgin, or a rock an obdurate tyrant.

The "Temple of Fame" has, as Steele warmly declared, a "thousand beauties." Every part is splendid; there is great luxuriance of ornaments; the original vision of Chaucer was never denied to be much improved; the allegory is very skilfully continued, the imagery is properly selected, and learnedly displayed; yet, with all this comprehension of excellence, as its scene is laid in remote ages, and its sentiments, if the concluding paragraph be excepted, have little relation to general manners or common life, it never obtained much notice, but is turned silently over, and seldom quoted or mentioned with either praise or blame.

That the "Messiah" excels the "Pollio" is no great praise, if it be considered from what original the improvements are derived.

The "Verses on the Unfortunate Lady" have drawn much attention by the illaudable singularity of treating suicide with respect; and they must be allowed to be written in some parts with vigorous animation, and in others with gentle tenderness; nor has Pope produced any poem in which the sense predominates more over the diction. But the tale is not skilfully told; it is not easy to discover the character of either the lady or her guardian. History relates that she was about to disparage herself by a marriage with an inferior; Pope praises her for the dignity of ambition, and yet condemns the uncle to detestation for his pride; the ambitious love of a niece may be opposed by the interest, malice, or envy of an uncle, but never by his pride. On such an occasion a poet may be allowed to be obscure, but inconsistency never can be right.

The "Ode for St. Cecilia's Day" was undertaken at the desire of Steele: in this the author is generally confessed to have miscarried, yet he has miscarried only as compared with Dryden; for he has far outgone other competitors. Dryden's plan is better chosen; history will always take stronger hold of the attention than fable: the passions excited by Dryden are the pleasures and pains of real life, the scene of Pope is laid in imaginary existence; Pope is read with calm acquiescence, Dryden with turbulent delight; Pope hangs upon the ear, and Dryden finds the passes of the mind. Both the odes want the essential constituent of metrical compositions, the stated recurrence of settled numbers. It may be alleged that Pindar is said by Horace to have written numeris lege solutis; but as no such lax performances have been transmitted to us, the meaning of that expression cannot be fixed; and perhaps the like return might properly be made to a modern Pindarist as Mr. Cobb received from Bentley, who, when he found his criticisms upon a Greek exercise, which Cobb had presented, refuted one after another by Pindar's authority, cried out at last, "Pindar was a bold fellow, but thou art an impudent one."

If Pope's ode be particularly inspected, it will be found that the first stanza consists of sounds well chosen indeed, but only sounds. The second consists of hyperbolical commonplaces, easily to be found, and perhaps without much difficulty to be as well expressed. In the third, however, there are numbers, images, harmony, and rigour, not unworthy the antagonist of Dryden. Had all been like this—but every part cannot be the best. The next stanzas place and detain us in the dark and dismal regions of mythology, where neither hope nor fear, neither joy nor sorrow can be found: the poet, however, faithfully attends us; we have all that can be performed by elegance of diction or sweetness of versification; but what can form avail without better matter? The last stanza recurs again to commonplaces. The conclusion is too evidently modelled by that of Dryden; and it may be remarked that both end with the same fault; the comparison of each is literal on one side and metaphorical on the other. Poets do not always express their own thoughts: Pope, with all this labour in the praise of music, was ignorant of its principles and insensible of its effects.

One of his greatest, though of his earliest works, is the "Essay on Criticism," which, if he had written nothing else, would have placed him among the first critics and the first poets, as it exhibits every mode of excellence that can embellish or dignify didactic composition, selection of matter, novelty of arrangement, justness of precept, splendour of illustration, and propriety of digression. I know not whether it be pleasing to consider that he produced this piece at twenty, and never afterwards excelled it: he that delights himself with observing that such powers may be soon attained, cannot but grieve to think that life was ever after at a stand.

To mention the particular beauties of the essay would be unprofitably tedious: but I cannot forbear to observe that the comparison of a student's progress in the sciences with the journey of a traveller in the Alps is perhaps the best that English poetry can show. A simile, to be perfect, must both illustrate and ennoble the subject; must show it to the understanding in a clearer view, and display it to the fancy with greater dignity; but either of these qualities may be sufficient to recommend it. In didactic poetry, of which the great purpose is instruction, a simile may be praised which illustrates, though it does not ennoble; in heroics, that may be admitted which ennobles, though it does not illustrate. That it may be complete, it is required to exhibit, independently of its references, a pleasing image; for a simile is said to be a short episode. To this antiquity was so attentive, that circumstances were sometimes added, which, having no parallels, served only to fill the imagination, and produced what Perrault ludicrously called "comparisons with a long tail." In their similes the greatest writers have sometimes failed; the ship-race, compared with the chariot-race, is neither illustrated nor aggrandised; land and water make all the difference: when Apollo, running after Daphne, is likened to a greyhound chasing a hare, there is nothing gained; the ideas of pursuit and flight are too plain to be made plainer; and a god and the daughter of a god are not represented much to their advantage by a hare and dog. The simile of the Alps has no useless parts, yet affords a striking picture by itself; it makes the foregoing position better understood, and enables it to take faster hold on the attention; it assists the apprehension and elevates the fancy. Let me likewise dwell a little on the celebrated paragraph in which it is directed that "the sound should seem an echo to the sense;" a precept which Pope is allowed to have observed beyond any other English poet.

This notion of representative metre, and the desire of discovering frequent adaptations of the sound to the sense, have produced, in my opinion, many wild conceits and imaginary beauties. All that can furnish this representation are the sounds of the words considered singly and the time in which they are pronounced. Every language has some words framed to exhibit the noises which they express, as THUMP, RATTLE, GROWL, HISS. These, however, are but few, and the poet cannot make them more, nor can they be of any use but when sound is to be mentioned. The time of pronunciation was in the dactylic measures of the learned languages capable of considerable variety; but that variety could be accommodated only to motion or duration, and different degrees of motion were perhaps expressed by verses rapid or slow, without much attention of the writer, when the image had full possession of his fancy: but our language having little flexibility, our verses can differ very little in their cadence. The fancied resemblances, I fear, arise sometimes merely from the ambiguity of words; there is supposed to be some relation between a SOFT line and SOFT couch, or between HEARD syllables and HARD fortune. Motion, however, may be in some sort exemplified; and yet it may be suspected that in such resemblances the mind often governs the ear, and the sounds are estimated by their meaning. One of their most successful attempts has been to describe the labour of Sisyphus:-

"With many a weary step, and many a groan, Up a high hill he heaves a huge round stone; The huge round stone, resulting with a bound, Thunders impetuous down, and smokes along the ground."

Who does not perceive the stone to move slowly upward, and roll violently back? But set the same numbers to another sense:-

"While many a merry tale, and many a song, Cheered the rough road, we wished the rough road long. The rough road, then, returning in a round, Mocked our impatient steps, for all was fairy ground."

We have now surely lost much of the delay and much of the rapidity. But, to show how little the greatest master of numbers can fix the principles of representative harmony, it will be sufficient to remark that the poet who tells us that -

"When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow: Not so when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main;"

when he had enjoyed for about thirty years the praise of Camilla's lightness of foot, he tried another experiment upon SOUND and TIME, and produced this memorable triplet:-

"Waller was smooth; but Dryden taught to join The varying verse, the full resounding line, The long majestic march, and energy divine."

Here are the swiftness of the rapid race, and the march of slow- paced majesty, exhibited by the same poet in the same sequence of syllables, except that the exact prosodist will find the line of SWIFTNESS by one time longer than that of TARDINESS. Beauties of this kind are commonly fancied, and, when real, are technical and nugatory, not to he rejected and not to be solicited.

To the praises which have been accumulated on the "Rape of the Look" by readers of every class, from the critic to the waiting-maid, it is difficult to make any addition. Of that which is universally allowed to be the most attractive of all ludicrous compositions, let it rather be now inquired from what sources the power of pleasing is derived.

Dr. Warburton, who excelled in critical perspicacity, has remarked that the preternatural agents are very happily adapted to the purposes of the poem. The heathen deities can no longer gain attention; we should have turned away from a contest between Venus and Diana. The employment of allegorical persons always excites conviction of its own absurdity; they may produce effects, but cannot conduct actions; when the phantom is put in motion it dissolves; thus Discord may raise a mutiny, but Discord cannot conduct a march nor besiege a town. Pope brought in view a new race of beings, with powers and passions proportionate to their operation. The Sylphs and Gnomes act at the toilet and the tea- table what more terrific and more powerful phantoms perform on the stormy ocean or the field of battle: they give their proper help and do their proper mischief. Pope is said, by an objector, not to have been the inventor of this petty notion, a charge which might with more justice have been brought against the author of the "Iliad," who doubtless adopted the religious system of his country; for what is there but the names of his agents which Pope has not invented? Has he not assigned them characters and operations never heard of before? Has he not, at least, given them their first poetical existence? If this is not sufficient to denominate his work original, nothing original ever can be written.

In this work are exhibited in a very high degree the two most engaging powers of an author. New things are made familiar, and familiar things are made new. A race of aerial people never heard of before is presented to us in a manner so clear and easy that the reader seeks for no further information, but immediately mingles with his new acquaintance, adopts their interests, and attends their pursuits, loves a Sylph, and detests a Gnome. That familiar things are made new every paragraph will prove. The subject of the poem is an event below the common incidents of common life; nothing real is introduced that is not seen so often as to be no longer regarded; yet the whole detail of a female day is here brought before us, invested with so much art of decoration that, though nothing is disguised, everything is striking, and we feel all the appetite of curiosity for that from which we have a thousand times turned fastidiously away.

The purpose of the poet is, as he tells us, to laugh at "the little unguarded follies of the female sex." It is therefore without justice that Dennis charges the "Rape of the Lock" with the want of a moral, and for that reason sets it below the "Lutrin," which exposes the pride and discord of the clergy. Perhaps neither Pope nor Boileau has made the world much better than he found it; but if they had both succeeded, it were easy to tell who would have deserved most from public gratitude. The freaks, and humours, and spleen, and vanity of women as they embroil families in discord, and fill houses with disquiet, do more to obstruct the happiness of life in a year than the ambition of the clergy in many centuries. It has been well observed that the misery of man proceeds not from any single crush of overwhelming evil, but from small vexatious continually repeated. It is remarked by Dennis, likewise, that the machinery is superfluous; that, by all the bustle of preternatural operation, the main event is neither hastened nor retarded. To this charge an efficacious answer is not easily made. The Sylphs cannot be said to help or oppose; and it must be allowed to imply some want of art that their power has not been sufficiently intermingled with the action. Other parts may likewise be charged with want of connection—the game at ombre might be spared; but if the lady had lost her hair while she was intent upon her cards it might have been inferred that those who are too fond of play will be in danger of neglecting more important interests. Those, perhaps, are faults, but what are such faults to so much excellence!

The Epistle of "Eloise to Abelard" is one of the most happy productions of human wit; the subject is so judiciously chosen that it would be difficult in turning over the annals of the world to find another which so many circumstances concur to recommend. We regularly interest ourselves most in the fortune of those who most deserve our notice. Abelard and Eloise were conspicuous in their days for eminence of merit. The heart naturally loves truth. The adventures and misfortunes of this illustrious pair are known from undisputed history. Their fate does not leave the mind in hopeless dejection, for they both found quiet and consolation in retirement and piety. So new and so affecting is their story that it supersedes invention, and imagination ranges at full liberty without straggling into scenes of fable. The story thus skilfully adopted has been diligently improved. Pope has left nothing behind him which seems more the effect of studious perseverance and laborious revisal. Here is particularly observable the curiosa felicitas, a fruitful soil and careful cultivation. Here is no crudeness of sense nor asperity of language. The sources from which sentiments which have so much vigour and efficacy have been drawn are shown to be the mystic writers by the learned author of the "Essays on the Life and Writings of Pope," a book which teaches how the brow of Criticism may be smoothed, and how she may be enabled, with all her severity, to attract and to delight.

The train of my disquisition has now conducted me to that poetical wonder, the translation of the "Iliad," a performance which no age or nation can pretend to equal. To the Greeks translation was almost unknown; it was totally unknown to the inhabitants of Greece. They had no recourse to the barbarians for poetical beauties, but sought for everything in Homer, where, indeed, there is but little which they might not find. The Italians have been very diligent translators, but I can hear of no version, unless, perhaps, Anguillara's "Ovid" may be excepted, which is read with eagerness. The "Iliad" of Salvini every reader may discover to be punctiliously exact; but it seems to be the work of a linguist skilfully pedantic; and his countrymen, the proper judges of its power to please, reject it with disgust. Their predecessors, the Romans, have left some specimens of translation behind them, and that employment must have had some credit in which Tully and Germanicus engaged; but unless we suppose, what is perhaps true, that the plays of Terence were versions of Menander, nothing translated seems ever to have risen to high reputation. The French in the meridian hour of their learning were very laudably industrious to enrich their own language with the wisdom of the ancients; but found themselves reduced by whatever necessity to turn the Greek and Roman poetry into prose. Whoever could read an author could translate him. From such rivals little can be feared.

The chief help of Pope in this audacious undertaking was drawn from the versions of Dryden. Virgil had borrowed much of his imagery from Homer; and part of the debt was now paid by his translator. Pope searched the pages of Dryden for happy combinations of heroic diction, but it will not be denied that he added much to what he found. He cultivated our language with so much diligence and art, that he has left in his "Homer" a treasure of poetical elegances to posterity. His version may be said to have tuned the English tongue; for since its appearance no writer, however deficient in other powers, has wanted melody. Such a series of lines, so elaborately corrected, and so sweetly modulated, took possession of the public ear; the vulgar was enamoured of the poem, and the learned wondered at the translation. But in the most general applause discordant voices will always be heard. It has been objected by some who wish to be numbered among the sons of learning that Pope's version of Homer is not Homerical; that it exhibits no resemblance of the original and characteristic manner of the Father of Poetry, as it wants his artless grandeur, his unaffected majesty. This cannot be totally denied; but it must be remembered that necessitas quod cogit defendit; that may be lawfully done which cannot be forborne. Time and place will always enforce regard. In estimating this translation, consideration must be had of the nature of our language, the form of our metre, and, above all, of the change which two thousand years have made in the modes of life and the habits of thought. Virgil wrote in a language of the same general fabric with that of Homer, in verses of the same measure, and in an age nearer to Homer's time by eighteen hundred years; yet he found even then the state of the world so much altered, and the demand for elegance so much increased, that mere nature would be endured no longer; and, perhaps, in the multitude of borrowed passages, very few can be shown which he has not embellished.

There is a time when nations, emerging from barbarity, and falling into regular subordination, gain leisure to grow wise, and feel the shame of ignorance and the craving pain of unsatisfied curiosity. To this hunger of the mind plain sense is grateful; that which fills the void removes uneasiness, and to be free from pain for a while is pleasure; but repletion generates fastidiousness; a saturated intellect soon becomes luxurious, and knowledge finds no willing reception till it is recommended by artificial diction. Thus it will be found, in the progress of learning, that in all nations the first writers are simple, and that every age improves in elegance. One refinement always makes way for another; and what was expedient to Virgil was necessary to Pope. I suppose many readers of the English "Iliad," when they have been touched with some unexpected beauty of the lighter kind, have tried to enjoy it in the original, where, alas! it was not to be found. Homer doubtless owes to his translator many Ovidian graces not exactly suitable to his character; but to have added can be no great crime, if nothing be taken away. Elegance is surely to be desired, if it be not gained at the expense of dignity. A hero would wish to be loved, as well as to be reverenced. To a thousand cavils one answer is sufficient; the purpose of a writer is to be read, and the criticism which would destroy the power of pleasing must be blown aside. Pope wrote for his own age and his own nation: he knew that it was necessary to colour the images and point the sentiments of his author; he therefore made him graceful, but lost him some of his sublimity. The copious notes with which the version is accompanied, and by which it is recommended to many readers, though they were undoubtedly written to swell the volumes, ought not to pass without praise: commentaries which attract the reader by the pleasure of perusal have not often appeared; the notes of others are read to clear difficulties; those of Pope to vary entertainment. It has, however, been objected, with sufficient reason, that there is in the commentary too much of unseasonable levity and affected gaiety; that too many appeals are made to the ladies, and the ease which is so carefully preserved is sometimes the ease of a trifler. Every art has its terms, and every kind of instruction its proper style; the gravity of common critics may be tedious, but is less despicable than childish merriment.

Of the "Odyssey" nothing remains to be observed; the same general praise may be given to both translations, and a particular examination of either would require a large volume. The notes were written by Broome, who endeavoured, not unsuccessfully, to imitate his master.

Of the "Dunciad" the hint is confessedly taken from Dryden's "Mac Flecknoe;" but the plan is so enlarged and diversified as justly to claim the praise of an original, and affords the best specimen that has yet appeared of personal satire ludicrously pompous. That the design was moral, whatever the author might tell either his readers or himself, I am not convinced. The first motive was the desire of revenging the contempt with which Theobald had treated his Shakspeare, and regaining the honour which he had lost, by crushing his opponent. Theobald was not of bulk enough to fill a poem, and therefore it was necessary to find other enemies with other names, at whose expense he might divert the public.

In this design there was petulance and malignity enough; but I cannot think it very criminal. An author places himself uncalled before the tribunal of criticism, and solicits fame at the hazard of disgrace. Dulness or deformity are not culpable in themselves, but may be very justly reproached when they pretend to the honour of wit or the influence of beauty. If bad writers were to pass without reprehension, what should restrain them? impune diem consumpserit ingens Telephus; and upon bad writers only will censure have much effect. The satire which brought Theobald and Moore into contempt dropped impotent from Bentley, like the javelin of Priam. All truth is valuable, and satirical criticism may be considered as useful when it rectifies error and improves judgment; he that refines the public taste is a public benefactor. The beauties of this poem are well known; its chief fault is the grossness of its images. Pope and Swift had an unnatural delight in ideas physically impure, such as every other tongue utters with unwillingness, and of which every ear shrinks from the mention. But even this fault, offensive as it is, may be forgiven for the excellence of other passages; such as the formation and dissolution of Moore, the account of the Traveller, the misfortune of the Florist, and the crowded thoughts and stately numbers which dignify the concluding paragraph. The alterations which have been made in the "Dunciad," not always for the better, require that it should be published, as in the present collection, with all its variations.

The "Essay on Man" was a work of great labour and long consideration, but certainly not the happiest of Pope's performances. The subject is perhaps not very proper for poetry; and the poet was not sufficiently master of his subject; metaphysical morality was to him a new study; he was proud of his acquisitions, and, supposing himself master of great secrets, was in haste to teach what he had not learned. Thus he tells us, in the first Epistle, that from the nature of the Supreme Being may be deduced an order of beings such as mankind, because infinite excellence can do only what is best. He finds out that these beings must be "somewhere;" and that "all the question is, whether man be in a wrong place." Surely if, according to the poet's Leibnitzian reasoning, we may infer that man ought to be, only because he is, we may allow that his place is the right place, because he has it. Supreme Wisdom is not less infallible in disposing than in creating. But what is meant by SOMEWHERE, and PLACE, and WRONG PIECE, it had been in vain to ask Pope, who probably had never asked himself.

Having exalted himself into the chair of wisdom, he tells us much that every man knows, and much that he does not know himself; that we see but little, and that the order of the universe is beyond our comprehension; an opinion not very uncommon; and that there is a chain of subordinate beings "from infinite to nothing," of which himself and his readers are equally ignorant. But he gives us one comfort, which without his help he supposes unattainable, in the position "that though we are fools, yet God is wise."

This essay affords an egregious instance of the predominance of genius, the dazzling splendour of imagery, and the seductive powers of eloquence. Never was penury of knowledge and vulgarity of sentiment so happily disguised. The reader feels his mind full, though he learns nothing; and, when he meets it in its new array, no longer knows the talk of his mother and his nurse. When these wonder-working sounds sink into sense, and the doctrine of the essay, disrobed of its ornaments, is left to the powers of its naked excellence, what shall we discover? That we are, in comparison with our Creator, very weak and ignorant; that we do not uphold the chain of existence; and that we could not make one another with more skill than we are made. We may learn yet more that the arts of human life were copied from the instinctive operations of other animals; that if the world be made for man, it may be said that man was made for geese. To these profound principles of natural knowledge are added some moral instructions equally new; that self-interest, well understood, will produce social concord; that men are mutual gainers by mutual benefits; that evil is sometimes balanced by good; that human advantages are unstable and fallacious, of uncertain duration and doubtful effect; that our true honour is not to have a great part, but to act it well; that virtue only is our own; and that happiness is always in our power. Surely a man of no very comprehensive search may venture to say that he has heard all this before; but it was never till now recommended by such a blaze of embellishments, or such sweetness of melody. The vigorous contraction of some thoughts, the luxuriant amplification of others, the incidental illustrations, and sometimes the dignity, sometimes the softness of the verses, enchain philosophy, suspend criticism, and oppress judgment by overpowering pleasure. This is true of many paragraphs; yet, if I had undertaken to exemplify Pope's felicity of composition before a rigid critic, I should not select the "Essay on Man;" for it contains more lines unsuccessfully laboured, more harshness of diction, and more thoughts imperfectly expressed, more levity without elegance, and more heaviness without strength, than will easily be found in all his other works.

The "Characters of Men and Women" are the product of diligent speculation upon human life; much labour has been bestowed upon them, and Pope very seldom laboured in vain. That his excellence may be properly estimated, I recommend a comparison of his "Characters of Women" with Boileau's Satire; it will then be seen with how much more perspicacity female nature is investigated, and female excellence selected; and he surely is no mean writer to whom Boileau should be found inferior. The "Characters of Men," however, are written with more, if not with deeper, thought, and exhibit many passages exquisitely beautiful. The "Gem and the Flower" will not easily be equalled. In the women's part are some defects; the character of Atossa is not so neatly finished as that of Clodio, and some of the female characters may be found, perhaps, more frequently among men; what is said of Philomede was true of Prior.

In the Epistles to Lord Bathurst and Lord Burlington, Dr. Warburton has endeavoured to find a train of thought which was never in the writer's head, and, to support his hypothesis, has printed that first which was published last. In one the most valuable passage is perhaps the Elegy on Good Sense, and the other the end of the Duke of Buckingham.

The Epistle to Arbuthnot, now arbitrarily called the "Prologue to the Satires," is a performance consisting, as it seems, of many fragments wrought into one design, which, by this union of scattered beauties, contains more striking paragraphs than could probably have been brought together into an occasional work. As there is no stronger motive to exertion than self-defence, no part has more elegance, spirit, or dignity, than the poet's vindication of his own character. The meanest passage is the satire upon Sporus.

Of the two poems which derived their names from the year, and which are called the "Epilogue to the Satires," it was very justly remarked by Savage that the second was in the whole more strongly conceived, and more equally supported, but that it had no single passages equal to the contention in the first for the dignity of Vice and the celebration of the triumph of Corruption.

The "Imitations of Horace" seem to have been written as relaxations of his genius. This employment became his favourite by its facility; the plan was ready to his hand, and nothing was required but to accommodate as he could the sentiments of an old author to recent facts or familiar images; but what is easy is seldom excellent. Such imitations cannot give pleasure to common readers; the man of learning may be sometimes surprised and delighted by an unexpected parallel, but the comparison requires knowledge of the original, which will likewise often detect strained applications. Between Roman images and English manners there will be an irreconcilable dissimilitude, and the works will be generally uncouth and parti-coloured, neither original nor translated, neither ancient nor modern.

Pope had, in proportions very nicely adjusted to each other, all the qualities that constitute genius. He had INTENTION, by which new trains of events are formed and new scenes of imagery displayed, as in the "Rape of the Lock," and by which extrinsic and adventitious embellishments and illustrations are connected with a known subject, as in the "Essay on Criticism." He had IMAGINATION, which strongly impresses on the writer's mind, and enables him to convey to the reader the various forms of nature, incidents of life, and energies of passion, as in his "Eloisa," "Windsor Forest," and "Ethic Epistles." He had JUDGMENT, which selects from life or Nature what the present purpose requires, and by separating the essence of things from its concomitants, often makes the representation more powerful than the reality; and he had colours of language always before him, ready to decorate his matter with every grace of elegant expression, as when he accommodates his diction to the wonderful multiplicity of Homer's sentiments and descriptions.

Poetical expression includes sound as well as meaning. "Music," says Dryden, "is inarticulate poetry;" among the excellences of Pope, therefore, must be mentioned the melody of his metre. By perusing the works of Dryden, he discovered the most perfect fabric of English verse, and habituated himself to that only which he found the best; in consequence of which restraint his poetry has been censured as too uniformly musical, and as glutting the ear with unvaried sweetness. I suspect this objection to be the cant of those who judge by principles rather than perception, and who would even themselves have less pleasure in his works if he had tried to relieve attention by studied discords, or affected to break his lines and vary his pauses. But though he was thus careful of his versification, he did not oppress his powers with superfluous rigour. He seems to have thought with Boileau that the practice of writing might be refined till the difficulty should overbalance the advantage. The construction of the language is not always strictly grammatical; with those rhymes which prescription had conjoined he contented himself, without regard to Swift's remonstrances, though there was no striking consonance, nor was he very careful to vary his terminations or to refuse admission, at a small distance, to the same rhymes. To Swift's edict for the exclusion of alexandrines and triplets he paid little regard; he admitted them, but, in the opinion of Fenton, too rarely; he uses them more liberally in his translation than his poems. He has a few double rhymes, and always, I think, unsuccessfully, except once in the "Rape of the Lock." Expletives he very early ejected from his verses, but he now and then admits an epithet rather commodious than important. Each of the six first lines of the "Iliad" might lose two syllables with very little diminution of the meaning, and sometimes, after all his art and labour, one verse seems to be made for the sake of another. In his latter productions the diction is sometimes vitiated by French idioms, with which Bolingbroke had perhaps infected him.

I have been told that the couplet by which he declared his own ear to be most gratified was this:-

"Lo, where Maeotis sleeps, and hardly flows The freezing Tanais through a waste of snows."

But the reason of this preference I cannot discover.

It is remarked by Watts that there is scarcely a happy combination of words, or a phrase poetically elegant in the English language, which Pope has not inserted into his version of Homer. How he obtained possession of so many beauties of speech it were desirable to know. That he gleaned from authors, obscure as well as eminent, what he thought brilliant or useful, and preserved it all in a regular collection, is not unlikely. When, in his last years, Hall's "Satires" were shown him, he wished that he had seen them sooner. New sentiments and new images others may produce; but to attempt any further improvement of versification will be dangerous. Art and diligence have now done their best, and what shall be added will be the effort of tedious toil and needless curiosity. After all this, it is surely superfluous to answer the question that has once been asked, Whether Pope was a poet, otherwise than by asking in return, If Pope be not a poet, where is poetry to be found? To circumscribe poetry by a definition will only show the narrowness of the definer, though a definition which shall exclude Pope will not easily be made. Let us look round upon the present time and back upon the past; let us inquire to whom the voice of mankind has decreed the wreath of poetry; let their productions be examined, and their claims stated, and the pretensions of Pope will be no more disputed. Had he given the world only his version, the name of poet must have been allowed him: if the writer of the "Iliad" were to class his successors he would assign a very high place to his translator, without requiring any other evidence of genius.

The following letter, of which the original is in the hands of Lord Hardwicke, was communicated to me by the kindness of Mr. Jodrell:-

"To MR. BRIDGES, at the Bishop of London's, at Fulham.

"SIR,—The favour of your letter, with your remarks, can never be enough acknowledged, and the speed with which you discharged so troublesome a task doubles the obligation.

"I must own you have pleased me very much by the commendations so ill bestowed upon me; but I assure you, much more by the frankness of your censure, which I ought to take the more kindly of the two, as it is more advantage to a scribbler to be improved in his judgment than to be smoothed in his vanity. The greater part of those deviations from the Greek which you have observed I was led into by Chapman and Hobbes; who are, it seems, as much celebrated for their knowledge of the original as they are decried for the badness of their translations. Chapman pretends to have restored the genuine sense of the author from the mistakes of all former explainers in several hundred places; and the Cambridge editors of the large Homer, in Greek and Latin, attributed so much to Hobbes, that they confess they have corrected the old Latin interpretation very often by his version. For my part, I generally took the author's meaning to be as you have explained it; yet their authority, joined to the knowledge of my own imperfectness in the language, overruled me. However, sir, you may be confident, I think you in the right, because you happen to be of my opinion; for men (let them say what they will) never approve any other's sense but as it squares with their own. But you have made me much more proud of and positive in my judgment, since it is strengthened by yours. I think your criticisms which regard the expression very just, and shall make my profit of them; to give you some proof that I am in earnest, I will alter three verses on your bare objection, though I have Mr. Dryden's example for each of them. And this, I hope, you will account no small piece of obedience, from one who values the authority of one true poet above that of twenty critics or commentators. But, though I speak thus of commentators, I will continue to read carefully all I can procure, to make up that way for my own want of critical understanding in the original beauties of Homer. Though the greatest of them are certainly those of invention and design, which are not at all confined to the language; for the distinguishing excellences of Homer are (by the consent of the best critics of all nations), first in the manners (which include all the speeches, as being no other than the representations of each person's manners by his words): and then in that rapture and fire, which carries you away with him, with that wonderful force, that no man who has a true poetical spirit is master of himself while he reads him. Homer makes you interested and concerned before you are aware, all at once, where Virgil does it by soft degrees. This, I believe, is what a translator of Homer ought principally to imitate; and it is very hard for any translator to come up to it, because the chief reason why all translations fall short of their originals is, that the very constraint they are obliged to renders them heavy and dispirited.

"The great beauty of Homer's language, as I take it, consists in that noble simplicity which runs through all his works (and yet his diction, contrary to what one would imagine consistent with simplicity, is at the same time very copious). I don't know how I have run into this pedantry in a letter, but I find I have said too much, as well as spoken too inconsiderately; what farther thoughts I have upon this subject I shall be glad to communicate to you (for my own improvement) when we meet, which is a happiness I very earnestly desire, as I do likewise some opportunity of proving how much I think myself obliged to your friendship, and how truly I am, sir,

"Your most faithful humble servant,

"A. POPE."

The criticism upon Pope's Epitaphs, which was printed in "The Universal Visitor," is placed here, being too minute and particular to be inserted in the Life.

Every art is best taught by example. Nothing contributes more to the cultivation of propriety than remarks on the works of those who have most excelled. I shall therefore endeavour at this VISIT to entertain the young students in poetry with an examination of Pope's Epitaphs.

To define an epitaph is useless; every one knows that it is an inscription on a tomb. An epitaph, therefore, implies no particular character of writing, but may be composed in verse or prose. It is, indeed, commonly panegyrical, because we are seldom distinguished with a stone but by our friends; but it has no rule to restrain or mollify it except this, that it ought not to be longer than common beholders may be expected to have leisure and patience to peruse.

On CHARLES Earl of DORSET, in the church of Wythyham in Sussex.

Dorset, the grace of courts, the Muse's pride, Patron of arts, and judge of nature, died. The scourge of pride, though sanctified or great, Of fops in learning, and of knaves in state; Yet soft in nature, though severe his lay, His anger moral, and his wisdom gay. Blest satirist! who touched the means so true, As showed Vice had his hate and pity too. Blest courtier! who could king and country please, Yet sacred kept his friendship and his ease. Blest peer! his great forefathers' every grace Reflecting, and reflected on his race; Where other Buckhursts, other Dorsets shine, And patriots still, or pests, deck the line.

The first distich of this epitaph contains a kind of information which few would want, that the man for whom the tomb was erected DIED. There are indeed some qualities worthy of the praise ascribed to the dead, but none that were likely to exempt him from the lot of man, or incline us much to wonder that he should die. What is meant by "judge of nature" is not easy to say. Nature is not the object of human judgment; for it is in vain to judge where we cannot alter. If by nature is meant what is commonly called NATURE by the critics, a just representation of things really existing, and actions really performed, nature cannot be properly opposed to ART; nature being, in this sense, only the best effect of ART.

The scourge of pride -

Of this couplet the second line is not what is intended, an illustration of the former. PRIDE in the GREAT, is indeed well enough connected with knaves in state, though KNAVES is a word rather too ludicrous and light; but the mention of SANCTIFIED pride will not lead the thoughts to FOPS IN LEARNING, but rather to some species of tyranny or oppression, something more gloomy and more formidable than foppery.

Yet soft his nature -

This is a high compliment, but was not first bestowed on Dorset by Pope. The next verse is extremely beautiful.

Blest satirist! -

In this distich is another line of which Pope was not the author. I do not mean to blame these imitations with much harshness; in long performances they are scarcely to be avoided, and in shorter they may be indulged, because the train of the composition may naturally involve them, or the scantiness of the subject allow little choice. However, what is borrowed is not to be enjoyed as our own, and it is the business of critical justice to give every bird of the Muses his proper feather.

Blest courtier! -

Whether a courtier can properly be commended for keeping his EASE SACRED, may perhaps be disputable. To please king and country without sacrificing friendship to any change of times was a very uncommon instance of prudence or felicity, and deserved to be kept separate from so poor a commendation as care of his ease. I wish our poets would attend a little more accurately to the use of the word SACRED, which surely should never be applied in a serious composition, but where some reference may be made to a higher Being, or where some duty is exacted or implied. A man may keep his friendship sacred, because promises of friendship are very awful ties; but methinks he cannot, but in a burlesque sense, be said to keep his ease SACRED.

Blest peer! -

The blessing ascribed to the PEER has no connection with his peerage; they might happen to any other man whose posterity were likely to be regarded.

I know not whether this epitaph be worthy either of the writer or the man entombed.

II.

On Sir WILLIAM TRUMBULL, one of the principal Secretaries of State to King WILLIAM III., who, having resigned his place, died in his retirement at Easthamstead, in Berkshire, 1716.

A pleasing form, a firm, yet cautious mind, Sincere, though prudent; constant, yet resigned; Honour unchanged, a principle profest. Fixed to one side, but moderate to the rest; An honest courtier, yet a patriot too, Just to his prince, and to his country true; Filled with the sense of age, the fire of youth, A scorn of wrangling, yet a zeal for truth; A generous faith, from superstition free; A love to peace, and hate of tyranny; Such this man was; who new from earth removed At length enjoys that liberty he loved.

In this epitaph, as in many others, there appears at the first view a fault which I think scarcely any beauty can compensate. The name is omitted. The end of an epitaph is to convey some account of the dead; and to what purpose is anything told of him whose name is concealed? An epitaph, and a history of a nameless hero, are equally absurd, since the virtues and qualities so recounted in either are scattered at the mercy of fortune to be appropriated by guess. The name, it is true, may be read upon the stone; but what obligation has it to the poet, whose verses wander over the earth and leave their subject behind them, and who is forced, like an unskilful painter, to make his purpose known by adventitious help? This epitaph is wholly without elevation, and contains nothing striking or particular; but the poet is not to be blamed for the defect of his subject. He said perhaps the best that could be said. There are, however, some defects which were not made necessary by the character in which he was employed. There is no opposition between an HONEST COURTIER and a PATRIOT; for an HONEST, COURTIER cannot but be a PATRIOT. It was unsuitable to the nicety required in short compositions to close his verse with the word TOO; every rhyme should be a word of emphasis: nor can this rule be safely neglected, except where the length of the poem makes slight inaccuracies excusable, or allows room for beauties sufficient to overpower the effects of petty faults.

At the beginning of the seventh line the word FILLED is weak and prosaic, having no particular adaptation to any of the words that follow it. The thought in the last line is impertinent, having no connection with the foregoing character, nor with the condition of the man described. Had the epitaph been written on the poor conspirator who died lately in prison, after a confinement of more than forty years, without any crime proved against him, the sentiment had been just and pathetical; but why should Trumbull be congratulated upon his liberty who had never known restraint?

III.

On the Hon. SIMON HARCOURT, only son of the Lord Chancellor HARCOURT, at the Church of Stanton-Harcourt in Oxfordshire, 1720.

To this sad shrine, whoe'er thou art, draw near, Here lies the friend most loved, the son most dear; Who ne'er knew joy, but friendship might divide, Or gave his father grief but when he died. How vain is reason, eloquence how weak! If Pope must tell what Harcourt cannot speak. Oh let thy once-loved friend inscribe thy stone, And with a father's sorrows mix his own!

This epitaph is principally remarkable for the artful introduction of the name, which is inserted with a peculiar felicity, to which chance must concur with genius, which no man can hope to attain twice, and which cannot be copied but with servile imitation. I cannot but wish that, of this inscription, the two last lines had been omitted, as they take away from the energy what they do not add to the sense.

IV.

On JAMES CRAGGS, Esq., in Westminster Abbey.

JACOBVS CRAGS, REGI MAGNAE BRITANNIAE A SECRETIS ET CONSILIIS SANCTIORIBVS, PRINCIPIS PARITER AC POPVLI AMOR ET DELICIAE: VIXIT TITLIS ET INVIDIA MAJOR ANNOS HEV PAVCOS, XXXV. OB. FEB. XVI. MDCCXX.

Statesman, yet friend to truth; of soul sincere, In action faithful, and in honour clear! Who broke no premise, served no private end, Who gained no title, and who lost no friend; Ennobled by himself, by all approved, Praised, wept, and honoured by the Muse he loved.

The lines on Craggs were not originally intended for an epitaph; and therefore some faults are to be imputed to the violence with which they are torn from the poems that first contained them. We may, however, observe some defects. There is a redundancy of words in the first couplet: it is superfluous to tell of him, who was SINCERE, TRUE, and FAITHFUL, that he was IN HONOUR CLEAR. There seems to be an opposition intended in the fourth line, which is not very obvious: where is the relation between the two positions, that he GAINED NO TITLE and LEST NO FRIEND?

It may be proper here to remark the absurdity of joining in the same inscription Latin and English or verse and prose. If either language be preferable to the other, let that only be used; for no reason can be given why part of the information should be given in one tongue, and part in another on a tomb, more than in any other place, or any other occasion; and to tell all that can be conveniently told in verse, and then to call in the help of prose, has always the appearance of a very artless expedient, or of an attempt unaccomplished. Such an epitaph resembles the conversation of a foreigner, who tells part of his meaning by words, and conveys part by signs.

V.

Intended for Mr. ROWE, in Westminster Abbey.

Thy reliques, Rowe, to this fair urn we trust, And sacred, place by Dryden's awful dust; Beneath a rude and nameless stone he lies, To which thy tomb shall guide inquiring eyes. Peace to thy gentle shade, and endless rest! Blest in thy genius, in thy love too blest; One grateful women to thy fame supplies What a whole thankless land to his denies.

Of this inscription the chief fault is that it belongs less to Rowe, for whom it was written, than to Dryden, who was buried near him; and indeed gives very little information concerning either.

To wish PEACE TO THY SHADE is too mythological to be admitted into a Christian temple: the ancient worship has infected almost all our other compositions, and might therefore be contented to spare our epitaphs. Let fiction, at least, cease with life, and let us be serious over the grave.

VI.

On Mrs. CORBET, who died of a Cancer in her Breast.

Here rests a woman, good without pretence, Blest with plain reason, and with sober sense; No conquest she, but o'er herself, desired; No arts essayed, but not to be admired. Passion and pride were to her soul unknown, Convinced that Virtue only is our own. So unaffected, so composed a mind, So firm, yet soft, so strong, yet so refined, Heaven, as its purest gold, by tortures tried; The saint sustained it, but the woman died.

I have always considered this as the most valuable of all Pope's epitaphs; the subject of it is a character not discriminated by any shining or eminent peculiarities; yet that which really makes, though not the splendour, the felicity of life, and that which every wise man will choose for his final and lasting companion in the languor of age, in the quiet of privacy, when he departs weary and disgusted from the ostentatious, the volatile, and the vain. Of such a character, which the dull overlook and the gay despise, it was fit that the value should be made known and the dignity established. Domestic virtue, as it is exerted without great occasions, or conspicuous consequences, in an even unnoted tenor, required the genius of Pope to display it in such a manner as might attract regard and enforce reverence. Who can forbear to lament that this amiable woman has no name in the verses? If the particular lines of this inscription be examined, it will appear less faulty than the rest. There is scarce one line taken from commonplaces, unless it be that in which ONLY VIRTUE is said to be OUR OWN. I once heard a lady of great beauty and excellence object to the fourth line that it contained an unnatural and incredible panegyric. Of this let the ladies judge.

VII.

On the Monument of the Hon. ROBERT DIGBY, and of his Sister MARY, erected by their Father the Lord DIGBY in the church of Sherborne in Dorsetshire, 1727

Go! fair example of untainted youth, Of modest wisdom, and pacific truth: Composed in sufferings, and in joy sedate, Good without noise, without pretension great Just of thy word, in every thought sincere, Who knew no wish but what the world might hear: Of softest manners, unaffected mind, Lover of peace, and friend of human kind: Go, live! for heaven's eternal year is thine, Go, and exalt thy mortal to divine. And thou, blest maid! attendant on his doom. Pensive hast followed to the silent tomb, Steered the same course to the same quiet shore, Not parted long, and now to part no more! Go, then, where only bliss sincere is known! Go, where to love and to enjoy are one! Yet take these tears, Mortality's relief, And, till we share your joys, forgive our grief: These little rites a stone, a verse receive. 'Tis all a father, all a friend can give!

This epitaph contains of the brother only a general indiscriminate character, and of the sister tells nothing but that she died. The difficulty in writing epitaphs is to give a particular and appropriate praise. This, however, is not always to be performed, whatever be the diligence or ability of the writer; for the greater part of mankind HAVE NO CHARACTER AT ALL, have little that distinguishes them from others, equally good or bad, and therefore nothing can be said of them which may not be applied with equal propriety to a thousand more. It is indeed no great panegyric that there is enclosed in this tomb one who was born in one year, and died in another; yet many useful and amiable lives have been spent which yet leave little materials for any other memorial. These are however not the proper subjects of poetry; and whenever friendship, or any other motive, obliges a poet to write on such subjects, he must be forgiven if he sometimes wanders in generalities, and utters the same praises over different tombs.

The scantiness of human praises can scarcely be made more apparent than by remarking how often Pope has, in the few epitaphs which he composed, found it necessary to borrow from himself. The fourteen epitaphs which he has written comprise about a hundred and forty lines, in which there are more repetitions than will easily be found in all the rest of his works. In the eight lines which make the character of Digby there is scarce any thought or word which may not be found in the other epitaphs. The ninth line, which is far the strongest and most elegant, is borrowed from Dryden. The conclusion is the same with that on Harcourt, but is here more elegant and better connected.

VIII.

On Sir GODFREY KNELLER, in Westminster Abbey, 1723.

Kneller, by Heaven, and not a master, taught, Whose art was Nature, and whose pictures thought; Now for two ages, having snatched from fate Whate'er was beauteous, or whate'er was great, Lies crowned with Princes, honours, Poets, lays, Due to his merit, and brave thirst of praise. Living, great Nature feared he might outvie Her works; and dying, fears herself may die.

Of this epitaph the first couplet is good, the second not bad, the third is deformed with a broken metaphor, the word crowned not being applicable to the honours or the lays, and the fourth is not only borrowed from the epitaph on Raphael, but of a very harsh construction.

IX.

On General HENRY WITHERS, in Westminster Abbey, 1729.

Here, Withers, rest! thou bravest, gentlest mind, Thy country's friend, but more of human kind. O born to arms! O worth in youth approved! O soft humanity in age beloved! For thee the hardy veteran drops a tear, And the gay courtier feels the sigh sincere Withers, adieu! yet not will thee remove Thy martial spirit, or thy social love! Amidst corruption, luxury, and rage, Still leave some ancient virtues to our age: Nor let us say (those English glories gone) The last true Briton lies beneath this stone.

The epitaph on Withers affords another instance of commonplaces, though somewhat diversified by mingled qualities, and the peculiarity of a profession. The second couplet is abrupt, general, and unpleasing; exclamation seldom succeeds in our language; and, I think, it may be observed that the particle O! used at the beginning of a sentence, always offends. The third couplet is more happy; the value expressed for him, by different sorts of men, raises him to esteem; there is yet something of the common cant of superficial satirists, who suppose that the insincerity of a courtier destroys all his sensations, and that he is equally a dissembler to the living and the dead. At the third couplet I should wish the epitaph to close, but that I should be unwilling to lose the two next lines, which yet are dearly bought if they cannot be retained without the four that follow them.

X.

On Mr. ELIJAH FENTON, at Easthamstead in Berkshire, 1730.

This modest stone, what few vain marbles can, May truly say, Here lies an honest man: A poet, blest beyond the poet's fate, Whom Heaven kept sacred from the Proud and Great: Foe to loud praise, and friend to learned ease, Content with science in the vale of peace. Calmly he looked on either life, and here Saw nothing to regret or there to fear; From Nature's temperate feast rose satisfied, Thanked Heaven that he lived, and that he died.

The first couplet of this epitaph is borrowed from Crashaw. The four next lines contain a species of praise peculiar, original, and just. Here, therefore, the inscription should have ended, the latter part containing nothing but what is common to every man who is wise and good. The character of Fenton was so amiable, that I cannot forbear to wish for some poet or biographer to display it more fully for the advantage of posterity. If he did not stand in the first rank of genius, he may claim a place in the second; and, whatever criticism may object to his writings, censure could find very little to blame in his life.

XI.

On Mr. GAY, in Westminster Abbey, 1732.

Of manners gentle, of affections mild; In wit, a muse; simplicity, a child: With native humour tempering virtuous rage, Formed to delight at once and lash the age: Above temptation, in a low estate, And uncorrupted, ev'n among the Great: A safe companion and an easy friend, Unbiased through life, lamented in thy end, These are thy honours! not that here thy bust Is mixed with heroes, or with kings thy dust; But that the worthy and the Good shall say, Striking their pensive bosoms—Here lies GAY.

As Gay was the favourite of our author this epitaph was probably written with an uncommon degree of attention, yet it is not more successfully executed than the rest, for it will not always happen that the success of a poet is proportionate to his labour. The same observation may be extended to all works of imagination, which are often influenced by causes wholly out of the performer's power, by hints of which he perceives not the origin, by sudden elevations of mind which he cannot produce in himself, and which sometimes rise when he expects them least. The two parts of the first line are only echoes of each other; GENTLE MANNERS and MILD AFFECTIONS, if they mean anything, must mean the same.

That Gay was a MAN IN WIT is a very frigid commendation; to have the wit of a man is not much for a poet. The WIT OF MAN and the SIMPLICITY OF A CHILD make a poor and vulgar contrast, and raise no ideas of excellence, either intellectual or moral.

In the next couplet RAGE is less properly introduced after the mention of MILDNESS and GENTLENESS, which are made the constituents of his character; for a man so MILD and GENTLE to TEMPER his RAGE was not difficult. The next line is inharmonious in its sound, and mean in its conception; the opposition is obvious, and the word LASH used absolutely, and without any modification, is gross and improper. To be ABOVE TEMPTATION in poverty and FREE FROM CORRUPTION AMONG THE GREAT is indeed such a peculiarity as deserved notice. But to be a SAFE COMPANION is a praise merely negative, arising not from possession of virtue but the absence of vice, and that one of the most odious.

As little can be added to his character by asserting that he was LAMENTED IN HIS END. Every man that dies is, at least by the writer of his epitaph, supposed to be lamented, and therefore this general lamentation does no honour to Gay.

The first eight lines have no grammar; the adjectives are without any substantive, and the epithets without a subject. The thought in the last line, that Gay is buried in the bosoms of the WORTHY and GOOD, who are distinguished only to lengthen the line, is so dark that few understand it, and so harsh, when it is explained, that still fewer approve.

XII.

Intended for Sir ISAAC NEWTON, in Westminster Abbey.

ISAACUS NEWTONIUS: Quem Immortalem Testantur, Tempus, Natura, Coelum: Mortalem hoc marmor fatetur. Nature, and Nature's laws, lay hid in night: God said, Let Newton be! And all was light.

On this epitaph, short as it is, the faults seem not to be very few. Why part should be Latin and part English it is not easy to discover. In the Latin the opposition of IMMORTALIS and MORTALIS is a mere sound, or a mere quibble; he is not IMMORTAL in any sense contrary to that in which he is MORTAL. In the verses the thought is obvious, and the words NIGHT and LIGHT are too nearly allied.

XIII.

On EDMUND Duke of BUCKINGHAM, who died in the 19th Year of his Age, 1735.

If modest youth, with cool reflection crowned, And every opening virtue blooming round, Could save a parent's justest pride from fate, Or add one patriot to a sinking state; This weeping marble had not asked thy tear, Or sadly told how many hopes lie here! The living virtue now had shone approved, The senate heard him, and his country loved. Yet softer honours, and less noisy fame, Attend the shade of gentle Buckingham: In whom a race, for courage famed and art, Ends in the milder merit of the heart; And, chiefs or sages long to Britain given, Pays the last tribute of a saint to heaven.

This epitaph Mr. Warburton prefers to the rest, but I know not for what reason. To CROWN with REFLECTION is surely a mode of speech approaching to nonsense. OPENING VIRTUES BLOOMING ROUND is something like tautology; the six following lines are poor and prosaic. ART is in another couplet used for ARTS, that a rhyme may be had to HEART. The six last lines are the best, but not excellent.

The rest of his sepulchral performances hardly deserve the notice of criticism. The contemptible dialogue between He and She should have been suppressed for the author's sake.

In his last epitaph on himself, in which he attempts to be jocular upon one of the few things that make wise men serious, he confounds the living man with the dead:

"Under this stone, or under this sill, Or under this turf, &c."

When a man is once buried, the question, under what he is buried, is easily decided. He forgot that though he wrote the epitaph in a state of uncertainty, yet it could not be laid over him till his grave was made. Such is the folly of wit when it is ill employed.

The world has but little new, even this wretchedness seems to have been borrowed from the following tuneless lines:-

"Ludovici Areosti humantur ossa Sub hoc marmore, vel sub hac humo, seu Sub quicquid voluit benignus haeres Siv haerede benignior comes, seu Opportunius incidens Viator: Nam scire haud potuit futura, sed nec Tanti erat vacuum sibi cadaver Ut utnam cuperet parere vivens, Vivens ista tamen sibi paravit. Quae inscribi voluit suo sepulchro Olim siquod haberetis sepulchrum."

Surely Ariosto did not venture to expect that his trifle would have ever had such an illustrious imitator.

THE END