approaches!" Cato, when for the first time he sees the dead body of his son, does not as Shakspeare, in his ignorance, would have probably made him do,

"Shed some natural tears, but wipe them soon," but merely exclaims, "What a pity it is that one can die but once to serve our country!" and, when the heroine of the "Cid" learns that her Father has been slain by her lover, what does she do? In nature, she would faint, or at any rate she would certainly not think of ceremony; but in the Drama, she makes the politest of all possible curtsies to the company, and begs that they will excuse her retiring for a few moments!

The fact is, that the age of Anne was rendered illustrious by its Prose writers. Its Poets, with few exceptions, were not above mediocrity. Pope, Gay, Swift, Steele, Shaftsbury, Addison, and Bolingbroke, are its foremost Authors. Of these, the first alone is entitled to the rank of a great Poet; the Poetry of the last five is too trifling and unimportant to be taken into

account.

The history of English Poetry, for a long period afterwards, presents a very dreary and

melancholy prospect. It is in the Didactic walk alone, which is the nearest allied to Prose, that we meet with any production approaching to excellence, with the exception of the beautiful Odes of Collins. Thomson, Akenside, Goldsmith, Young, and Dyer, are men to whom English Literature is greatly indebted; and they distinguished themselves as much as the narrow walk in which they chose to be confined would allow them. Thomson, especially, did much to bring back the then artificial taste of the public to a just appreciation of natural scenes appropriately described, and sentiments beautifully expressed. His exclamation on the publication of Glover's "Leonidas," "What! he write an Epic Poem who never saw a mountain!" shews that he well knew that Nature was the only school in which true Poetry is taught. Yet even Thomson himself was somewhat infected with the taste of the age, and is too fond of pompous and high-sounding diction, by which we frequently find his beautiful thoughts obscured: this objection, however, does not apply to the "Castle of Indolence," the most delightful production of its age. Akenside wrote elegantly and classically; with precision,

and with energy.

Goldsmith is perfection in

every thing that he has done: the only thing to be regretted is, that he has done so little. Young, so often turgid and declamatory, is not, I confess, much to my taste, although he has doubtless many bold and original thoughts, which he expresses very powerfully. Dyer, in

his long Poem upon Sheep-shearing, has made as much of so unpoetical a theme as could possibly be expected. The Epics of Blackmore, of Wilkie, and of Glover, once enjoyed considerable popularity; they have now passed into comparative oblivion; and, with the exception of the "Leonidas" of the last, have met with the fate they merited. Glover was a scholar, and a man of taste. His Poem is chaste, classical, and elegant; but, at the same time, defective in action, character, passion, and interest. sentiments are just, and eloquently expressed, and the imagery and descriptions are in strict keeping with the classical nature of the subject; but still the effect of the entire Poem is such, that we rather approve than admire. What Dr. Johnson said of his dramatic namesake, may, with much more truth and propriety, be applied to Glover :

The

1

"Cold approbation gives the lingering bays,

And those who dare not censure, scarce can praise." But brighter days were about to dawn on English Poetical Literature. The public, satiated with the mediocrity with which their poetical caterers gorged them, began to turn their eyes upon the elder writers, whose traditionary fame still survived, but whose works, although much talked of, were little read. Johnson and Steevens published their edition of Shakspeare; and thus led to that general knowledge and due appreciation of the merits of the great Dramatist, which forms so distinguishing and creditable a feature in the public taste at the present day. Percy gave to the world those invaluable literary treasures, the "Reliques of Ancient English Poetry;" which, although at first received with coolness and neglect, eventually, by their simplicity and beauty, extorted general admiration, and, as Mr. Wordsworth has said, "absolutely redeemed the Poetry of this country."-"I do not think," adds this distinguished Author, "that there is an able writer in verse of the present day, who would not be proud to acknowledge his obligations to the Reliques.' I know that it is so with my friends; and for

myself, I am happy to make a public avowal of of my own." The new Edition of Shakspeare turned the attention of the public to the works of his contemporaries; and Beaumont and Fletcher, Ford, Massinger, and Jonson, with all the world of literary wealth which their works contain, were given to the public by the successive labours of Seward, Whalley, Coleman, Weber, and Gifford. Ellis and Headley also published their "Specimens of the Ancient English Poets;" and Dr. Anderson sent forth into the world his Edition of the English Poets, including all those mighty Bards who were omitted in Dr. Johnson's edition, by reason of the strange restriction which he imposed upon himself, or which was dictated to him by others, of beginning that collection with the works of Cowley. An Author, too, of a far higher character for originality of mind, purity of taste, simplicity of thought and expression, and deep observation of nature, than had come before the public for many years, now appeared in the person of the highly-gifted, but ill-fated Cowper. The success of his exquisite "Task" was so rapid and brilliant, as to shew that the taste of the public had undergone a great revolution, since