indeed, since his time, we have seen scarce any production that can justly lay claim to immortality; he carried the language to its highest perfection; and those who have attempted still farther to improve it, instead of ornament, have only caught finery.

II

ON CERTAIN ENGLISH POEMS

[The following are the introductory notes prefixed to the poems contained in The Beauties of English Poesy. Selected by Oliver Goldsmith, and published by Griffin in two volumes in April, 1767.]

THE RAPE OF THE LOCK.-This seems to be Mr. Pope's most finished production, and is, perhaps, the most perfect in our language. It exhibits stronger powers of imagination, more harmony of numbers, and a greater knowledge of the world, than any other of this poet's works: and it is probable, if our country were called upon to show a specimen of their genius to foreigners, this would be the work here fixed upon.

THE HERMIT.-This poem is held in just esteem, the versification being chaste, and tolerably harmonious, and the story told with perspicuity and conciseness. It seems to have cost great labour, both to Mr. Pope, and Parnell himself, to bring it to this perfection. It may not be amiss to observe, that the fable is taken from one of Dr. Henry More's Dialogues.

IL PENSEROSO AND L'ALLEGRO.-I have heard a very judicious critic say, that he had an higher idea of Milton's style of poetry from the two following poems, than from his "Paradise Lost." It is certain the imagination shown in them is correct and strong. The introduction to both in irregular measure is borrowed from the Italians, and hurts an English ear.

AN ELEGY WRITTEN IN A COUNTRY CHURCHYARD.This is a very fine poem, but overloaded with epithet.1 The

[Cf. Cradock's Memoirs, 1826, i, 230, where Goldsmith, rally. ing his friend upon his devotion to Hurd, Gray, Mason, and “that formal school," proposes to mend the Elegy "by leaving out an idle word in every line."]

heroic measure with alternate rhyme is very properly adapted to the solemnity of the subject, as it is the slowest movement that our language admits of. The latter part of the poem is pathetic and interesting.

LONDON. IN IMITATION OF THE THIRD SATIRE OF JUVENAL. This poem of Mr. Johnson's is the best imitation of the original that has appeared in our language, being possessed of all the force and satirical resentment of Juvenal. Imitation gives us a much truer idea of the ancients than even translation could do.

THE SCHOOL-MISTRESS. IN IMITATION OF SPENSER.This poem is one of those happinesses in which a poet excels himself, as there is nothing in all Shenstone which anyway approaches it in merit; and, though I dislike the imitations of our old English poets in general, yet, on this minute subject, the antiquity of the style produces a very ludicrous solemnity.

COOPER'S HILL.-This poem, by Denham, though it may have been exceeded by later attempts in description, yet deserves the highest applause, as it far surpasses all that went before it: the concluding part, though a little too much crowded, is very masterly.

ELOISA TO ABELARD.-The harmony of numbers in this poem [by Mr. Pope] is very fine. It is rather drawn out to too tedious a length, altho' the passions vary with great judgment. It may be considered as superior to anything in the epistolary way; and the many translations which have been made of it into the modern languages, are, in some measure, a proof of this.

AN EPISTLE FROM MR. PHILIPS TO THE EARL OF DORSET. The opening of this poem is incomparably fine. The latter part is tedious and trifling.

A LETTER FROM ITALY, TO THE RIGHT HONOURABLE CHARLES LORD HALIFAX. IN THE YEAR MDCCI.-Few poems have done more honour to English genius than this [by Mr. Addison]. There is in it a strain of political thinking that was, at that time, new in our poetry. Had the harmony of this been equal to that of Pope's versification, it would be incontestably the finest poem in our language; but there is a dryness in the numbers which greatly lessens the pleasure excited both by the poet's judgment and imagination.

ALEXANDER'S FEAST; OR, The Power of MUSIC. AN ODE, IN HONOUR OF ST. CECILIA'S DAY.-This ode [Dryden's] has been more applauded, perhaps, than it has been felt; however, it is a very fine one, and gives its beauties rather at a third, or fourth, than at a first, perusal.

ODE FOR MUSIC ON ST. CECILIA'S DAY.-This ode

[Pope's] has by many been thought equal to the former. As it is a repetition of Dryden's manner, it is so far inferior to him. The whole hint of Orpheus, with many of the lines, have been taken from an obscure Ode upon Music, published in "Tate's Miscellanies."

THE SHEPHERD'S WEEK. IN SIX PASTORALS.-These are Mr. Gay's principal performance. They were originally intended, I suppose, as a burlesque on those of Philips; but, perhaps without designing it, he has hit the true spirit of pastoral poetry. In fact, he more resembles Theocritus than any other English pastoral writer whatsoever. There runs through the whole a strain of rustic pleasantry which should ever distinguish this species of composition; but how far the antiquated expressions used here may contribute to the humour, I will not determine; for my own part, I could wish the simplicity were preserved, without recurring to such obsolete antiquity for the manner of expressing it.

MAC FLECKNOE.-The severity of this satire, and the excellence of its versification, give it a distinguished_rank in this species of composition. At present, an ordinary reader would scarce suppose that Shadwell, who is here meant by Mac Flecknoe, was worth being chastised, and that Dryden's descending to such game was like an eagle's stooping to catch flies. The truth, however, is, Shadwell, at one time, held divided reputation with this great poet. Every age produces its fashionable dunces, who, by following the transient topic, or humour, of the day, supply talkative ignorance with materials for conversation.

ON POETRY. A RHAPSODY.-Here follows one of the best versified poems in our language, and the most masterly production of its author. The severity with which Walpole is here treated, was in consequence of that minister's having refused to provide for Swift in England, when applied to for that purpose in the year 1725 (if I remember right). The

Aquila non capit muscas.]

severity of a poet, however, gave Walpole very little uneasi ness. A man whose schemes, like this minister's, seldom g extended beyond the exigency of the year, but little regarded the contempt of posterity.

OF THE USE OF RICHES.-This poem, as Mr. Pope tells us himself, cost much attention and labour; and, from the easiness that appears in it, one would be apt to think as much.

FROM THE "DISPENSARY." CANTO VI.-This sixth canto of the Dispensary, by Dr. Garth, has more merit than the whole preceding part of the poem, and, as I am told, in the first edition of this work it is more correct than as here exhibited; but that edition I have not been able to find. The praises bestowed on this poem are more than have been given to any other; but our approbation, at present, is cooler, for it owed part of its fame to party.

PERSIAN ECLOGUES.-The following eclogues, written by Mr. Collins, are very pretty: the images, it must be owned, are not very local; for the pastoral subject could not well admit of it. The description of Asiatic magnificence and manners, is a subject as yet unattempted amongst us, and, I believe, capable of furnishing a great variety of poetical imagery.

THE SPLENDID SHILLING. BY MR. J. PHILIPS.-This is reckoned the best parody of Milton in our language: it has been an hundred times imitated without success. The truth is, the first thing in this way must preclude all future attempts; for nothing is so easy as to burlesque any man's manner, when we are once shown the way.

A PIPE OF TOBACCO: IN IMITATION OF SIX SEVERAL AUTHORS.-Mr. Hawkins Browne, the author of these, as I am told, had no good original manner of his own, yet we see how well he succeeds when he turns an imitator; for the following are rather imitations, than ridiculous parodies.

A NIGHT-PIECE, ON DEATH.-The great fault of this piece, written by Dr. Parnell, is, that it is in eight syllable lines, very improper for the solemnity of the subject; otherwise the poem is natural, and the reflections just.

A FAIRY TALE. BY DR. PARNELL.-Never was the old manner of speaking more happily applied, or a tale better told, than this.

་

PALEMON AND LAVINIA.-Mr. Thomson, though, in general, a verbose and affected poet, has told this story with unusual simplicity: it is rather given here for being much esteemed by the public, than by the editor.

THE BASTARD.-Almost all things written from the heart, as this certainly was, have some merit. The poet here describes sorrows and misfortunes which were by no means imaginary; and, thus, there runs a truth of thinking through this poem, without which it would be of little value, as Savage is, in other respects, but an indifferent poet.

THE POET AND HIS PATRON.--Mr. Mo[o]re was a poet that never had justice done him while living; there are few of the moderns have a more correct taste, or a more pleasing manner of expressing their thoughts. It was upon these fables he chiefly founded his reputation; yet they are, by no means, his best production.

AN EPISTLE TO A LADY.-This little poem, by Mr. Nugent,1 is very pleasing. The easiness of the poetry, and the justice of the thoughts, constitute its principal beauty.

HANS CARVEL.-This bagatelle, for which, by the bye, Mr. Prior has got his greatest reputation, was a tale told in all the Old Italian collections of jests, and borrowed from thence by Fontaine. It had been translated once or twice before into English, yet was never regarded till it fell into the hands of Mr. Prior. A strong instance how much everything is improved in the hands of a man of genius.

BAUCIS AND PHILEMON. FROM SWIFT.-This poem is very fine; and, though in the same strain with the preceding, is yet superior.

TO THE EARL OF WARWICK, ON THE DEATH OF MR. ADDISON. This elegy (by Mr. Tickell) is one of the finest in our language: there is so little new that can be said upon the death of a friend, after the complaints of Ovid, and the Latin Italians, in this way, that one is surprised to see so much novelty in this to strike us, and so much interest to affect.

COLIN AND LUCY. A BALLAD.-Through all Tickell's works there is a strain of ballad-thinking, if I may so express it; and, in this professed ballad, he seems to have

See p. 47, note to The Haunch of Venison.]

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