This passage would have been considered vile and vulgar by the critics of those days: the word "candles" would have been voted low and unpoetical, and "torches," perhaps, substituted for it; Day" would never have been described as standing "tiptoe," but as with "foot upraised," or "proudly advancing;" and what gentleman who walked about the Strand and the Mall, writing Pastoral poetry, would, when speaking of " mountain tops," have thought of the mists which sometimes envelope them, or would have dreamed that such ugly accompaniments could possibly add to their sublimity and beauty? Shakspeare has so little idea of what is regal and Roman, that he shews us Lear, tottering about amidst the pelting of the storm, and taking shelter with a madman and a fool in a hovel; and describes Julius Cæsar as once shivering with an ague-fit ;-- "Aye, and that tongue of his, that bade the Romans In the Augustan age, however, things were ordered very differently;—" On avoit changé tout cela.” Alexander could not appear upon the Stage until one of the persons of the Drama exclaims, "Behold! the master of the world 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 rendered itself illustrious by it's Prose writings. It's Poetry is, with few exceptions, exceedingly mediocre. Pope, Gay, Swift, Steele, Shaftsbury, Addison, and Bolingbroke, are it's foremost Authors. Of these, the first alone is entitled to the rank of a great Poet, and the Poetry of the last five is too trifling and unimportant to be taken into the 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 who 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 artificial taste of the public to a just appreciation of natural scenes and sentiments, naturally described and 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, in which we frequently find his beautiful thoughts obscured, instead of being adorned. This objection, however, does not apply to the "Castle of Indolence," the most delightful production of it's 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 regret 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; but the theme, after all, had better have been let alone. 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, they have achieved only the destiny which 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. The sentiments are just, and eloquently expressed, and the imagery and descriptions are in strict congruity 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: "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 became satiated with the mediocrity with which their poetical caterers gorged them, and they began to turn their eyes upon the elder writers, whose traditionary fame still survived, and whose works were much talked of, although they were little read. Johnson and Steevens published their edition of Shakspeare; and so laid the foundation of 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 my own." The new Edition of Shakspeare turned the attention of the public to the works of his contemporaries, and |