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almost five months old. It is not the most ex traordinary performance in the world : but, from the circumstance of Chatterton's parentage and education, it is unlikely, if not impoffible, that he should have met with any asistance or correction. Whereas, when we read the ode whichi Pope wrote at twelve, and another of Cowley at thirteen, we are apt to suspect a parent, friend, or tutor, of an amiable dishonesty, of which we feel, perhaps, that we should be guilty. Sufpicions of this nature touch not Chatterton. He knew no tutor, no friend, no parent---at least no parent who could correct or affist him. This poem appears to have been aimed at somebody, wbile be was young. In the works this poem is dated April 1694 A friend affured me has seen it in a miscellany, with this recommendation, « written by Mr. Addison, when be was only twentySeven." Some recommendation is required by a poem which concludes with these four lines (Addison's works, fto. Torlon, 1721, vol. 1. page 41.)
I leave the arts of poefy and verse
And so, at once, dear friend and mure, farewell. Chaulieu, a French poet, alks indulgence for a little rondeau, because, at the time he wrote it, he was Poëte NAISSANT, Eastern PORT jeune (@vres de Chaulieu, à la Haye, 1777.) The apology will hold,, if a man bee xceedingly young and a fucking poat-ats forty, which was Chaulieu's age when he wrote the rondeau in: question.
who had formerly been a Methodist, and was lately promoted (to the dignity, perhaps, of opening a pew or a grave; for C. was the fexton's son) in the established church. Satire was his fort, if any thing can be called his fort, who excelled in every thing he undertook. Catcott has another later poem of C.'s, called, I think, • The Exhibition.” The church here also supplied his indignation with a subject. But, as the satire is rather severe, and the characters are living, Catcott does not permit it to be copied. He has suffered it to be read, and the three following couplets are in different parts of it. At the fame time that the lines are surely not bad, they Thow that music was one of the many things Chatterton found means to acquire during the few months he lived. He is known to have been musical; a fact we have upon poetical record only of him and Milton, I believe. They are not lovered in
estimation on this account.--. Ci's father had a remarkable turn for music. An old female relation says he talked little, was very absent in company; and used very often to walk by the river side, talking to himself, and flourishing his arms about.---The first and second couplets I mentioned, are in ridicule, the last in praise, of some organist.
Sacred' to Neep, in his inverted key,
Wanfe jarring humdrum symphonies of flats
He keeps the passions with the sounds in play,
The e in key is, I believe, in the Somersetshire pronunciation, a.
Now, for the poem.
APOSTATE WILL, BY T. C.
In days of old, when Wesley's pow'r
Then ftrait to Wesley he repairs,
He then his circumstance declar'd',
It happen'd once upon a time,
The curate straićway gave consent-
And keeps it with diffembled grace.
Though it may not be the next in order of composition, for I shall send you nothing which is already printed, I shall now transcribe for you a poem dated 1769; of which Catcott tells, that talking one day with Chatterton about happincss, Chatterton said he had never yet thought on the subject, but that he would. The next duiy he brought Catcott these lines, and told him they contained his creed of happiness. There can in this be no deceit; for the pewterer produces the poem, and in the simplicity of his vanity, imagines it to contain a panegyric on himself.
We want no more
Hail Revelation ! sphere-envelop'd dame,