1

In this compilation I run but few risques of that kind; every poem here is well known, and possessed, or the public has been long mistaken, of peculiar merit: every poem has, as Aristotle expresses it, a beginning, a middle, and an end, in which, however, trifling the rule may seem, most of the poetry in our language is deficient: I claim no merit in the choice, as it was obvious, for in all languages best productions are most easily found. As to the short introductory criticisms to each poem, they are rather designed for boys than men; for it will be seen that I declined all refinement, satisfied with being obvious, and sincere. In short, if this work be useful in schools, or amusing in the closet, the merit all belongs to others; I have nothing to boast, and at best can expect, not applause, but pardon.

OLIVER GOLDSMITH.

THE

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 powersofimagination, 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 shew a specimen of their genius to foreigners, this would be the work here fixed upon.

IL PENSEROSO.

I have heard a very judicious Critic say, that he had an higher idea of Milton's stile in poetry, from the two following poems, than from his Paradise Lost. It is certain the imagination shewn 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 CHURCH-YARD.

This is a very fine poem, but overloaded with epithet. The heroic measure with alternate rhime 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 satyrical resentment of Juvenal. Imitation gives us a much truer idea of the ancients than even translation could do. THE

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 any way 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 is very fine. It is rather drawn out to too tedious a length, although the passions vary with great judgment. It may be considered as superior to any thing 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, 1701. Few poems have done more honour to English genius than this. There is in it a strain of political

thinking

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 incontestibly 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 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 so far inferior to him. The whole hint of Orpheus, with many of the lines, has been taken from an obscure Ode upon Music, published in Tate's Mis

cellanies.

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

here may contribute to the humour, I will not deter's mine; 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 scarcely suppose that Shadwell, who is here meant by Mac Flecknoe, was worth being chastised; and that Dryden, descending to such game, was like an eagle 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 conver

sation.

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 severity of a Poet, however, gave Walpole very little uneasiness. A man whose schemes, like this minister's, seldom 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