PREFACE.

My Bookfeller having informed me that there was no collection of English Poetry among us, of any estimation, I thought a few hours fpent in making a proper selection would not be ill bestowed.

Compilations of this kind are chiefly defigned for fuch as either want leifure, fkill, or fortune, to choose for themselves; for perfons whofe profeffions turn them to different purfuits, or who, not yet arrived at fufficient maturity, require a guide to direct their application. To our youth, particularly, a publication of this fort may be useful; fince, if compiled with any share of judgment, it may at once unite precept and example, fhew them what is beautiful, and inform them why it is fo: I therefore offer this, to the best of my judgment, as the best collection that has as yet appeared; though, as taftes are various, numbers will be of a very different opinion. Many, perhaps, may wish to fee in it the poems of their favourite authors, others may wish that I had felected from works lefs generally read, and others ftill may wish that I had felected from their own. But my defign was to give a useful, unaffected compilation; one that might tend to advance the reader's tafte, and not impress him with exalted ideas of mine. Nothing is fo common, and yet fo abfurd, as affectation in criticifm. The defire of being thought to have a more difcerning taste than others, has often led writers to labour after error, and to be foremost in promoting deformity.

in our

In this compilation I run but few rifques of that kind; every poem here is well known, and poffeffed, or the public has been long mistaken, of peculiar merit: every poem has, as Ariftotle expreffes it, a beginning, a middle, and an end, in which, however trifling the rule may feem, moft of the poetry language is deficient: I claim no merit in the choice as it was obvious, for in all languages beft productions are most eafily found. As to the fhort intraductory criticisms to each poem, they are rather defigned for boys than men; for it will be feen that I declined all refinement, fatisfied with being obvious and fincere. In fhort, if this work be useful in fchools, or amufing in the clofet, the merit all belongs to others; I have nothing to boast, and at beft can expect, not applaufe, but pardon.

OLIVER GOLDSMITH,

THE

THE RAPE OF THE LOCK.

This feems to be Mr. Pope's most finished production, and is, perhaps, the moft perfect in our language. It exhibits ftronger powers of imagination, more harmony of numbers, and a greater knowledge of the world, than any other of this Poet's Works: and it was probable, if our country were called upon to fhew a specimen of their genius to foreigners, this would be the work here fixed upon.

IL PENSEROSO.

I have heard a very judicious Critic fay, that he had an higher idea of Milton's ftile in poetry, from the two following poems, than from his Paradife Loft. It is certain the imagination fhewn in them is correct and ftrong. The introduction to both in irregular measure is borrowed from the Italians, and hurts an English ear.

AN ELEGY,

WRITTEN IN A COUNTRY CHURCH-YARD.

This is a very fine poem, but overloaded with epithet. The heroic measure with alternate rhime is very properly adapted to the folemnity of the fubject, as it is the floweft 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. Johnfon's is the best imitation of the original that has appeared in our language, being poffeffed of all the force and fatyrical refentment of Juvenal. Imitation gives us a much truer idea of the ancients than even tranflation could do.

THE

THE SCHOOL MISTRESS,

IN IMITATION OF SPENCER.

This poem is one of thofe happineffes in which a poet excels himself, as there is nothing in all Shenftone, which any way approaches it in merit; and, though I dislike the imitations of our old English poets in general, yet on this minute fubject the antiquity of the ftyle produces a very ludicrous folemnity.

COOPER'S HILL.

This poem by Denham, though it may have been exceeded by later attempts in defcription, yet deferves the higheft applaufe, as it far furpaffes all that went before it: the concluding part, though a little too much crowded, is very mafterly.

ELOISA TO ABELARD.

The harmony of numbers in this poem is very fine. It is rather drawn out to too tedious a length, although the paffions vary with great judgment. It may be confidered as fuperior to any thing in the epiftolary way; and the many tranflations which have been made of it into the modern languages,. are, in fome 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,

ΤΟ THE RIGHT HONOURABLE CHARLES LORD HALIFAX, 1701. Few poems have done more honour to English genius than this. There is in it a strain of political thinking

1

thinking that was, at that time, new in our poetry. Had the harmony of this been equal to that of Pope's verfification, it would be inconteftibly the finest poem in our language; but there is a drynefs in the num bers, which greatly leffens 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 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 has by many been thought equal to the former. As it is a repetition of Dryden's manner, it is fo far inferior to him. The whole hint of Orpheus, with many of the lines, has been taken from an ob fcure Ode upon Mufic, published in Tate's Mifcellanies.

THE SHEPHERD'S WEEK,

IN SIX PASTORALS.

These are Mr. Gay's principal performance. They were originally intended, I fuppofe, as a burlefque on thofe of Philips; but, perhaps without defigning it, he has hit the true fpirit of paftoral poetry. In fact he more refembles Theocritus than any other English paftoral writer whatfoever. There runs through the whole a ftrain of ruftic pleasantry, which fhould ever diftinguish this fpecies of compofition; but how far the antiquated expreffions used

here