ant of this nobleman, if there be such a person living, could hardly be guilty of a mean or paltry action.

The finest piece of personal satire in Pope (perhaps in the world) is his character of Addison; and this, it may be observed, is of a mixed kind, made up of his respect for the man, and a cutting sense of his failings. The other finest one is that of Buckingham, and the best part of that is the pleasurable.

Alas! how changed from him,

That life of pleasure and that soul of whim,
Gallant and gay, in Cliveden's proud alcove,
The bower of wanton Shrewsbury and love!"

Among his happiest and most inimitable effusions are the Epistles to Arbuthnot, and to Jervas the painter; amiable patterns of the delightful unconcerned life, blending ease with dignity, which poets and painters then led. Thus he says to Arbuthnot:

"Why did I write? What sin to me unknown
Dipp'd me in ink, my parents' or my own?
As yet a child, nor yet a fool to fame,

I lisped in numbers, for the numbers came.

I left no calling for this idle trade,

No duty broke, no father disobey'd:

The muse but serv'd to ease some friend, not wife,
To help me through this long disease, my life!
To second, Arbuthnot! thy art and care,
And teach the being you preserv'd to bear.

But why then publish? Granville the polite,
And knowing Walsh, would tell me I could write;
Well-natur'd Garth inflam'd with early praise,
And Congreve lov'd, and Swift endur'd, my lays;
The courtly Talbot, Somers, Sheffield, read;
E'en mitred Rochester would nod the head;
And St. John's self (great Dryden's friend before)
With open arms receiv'd one poet more.
Happy my studies, when by these approv'd!
Happier their author, when by these belov'd!

From these the world will judge of men and books,
Not from the Burnets, Oldmixons, and Cooks."

I cannot help giving also the conclusion of the Epistle to Jervas.

Oh, lasting as those colours, may they shine,
Free as thy stroke, yet faultless as thy line;
New graces yearly, like thy works, display,
Soft, without weakness, without glaring gay;
Led by some rule, that guides, but not constrains;
And finish'd more through happiness than pains,
The kindred arts shall in their praise conspire,
One dip the pencil, and one string the lyre.
Yet should the Graces all thy figures place,
And breathe an air divine on ev'ry face;
Yet should the Muses bid my numbers roll
Strong as their charms, and gentle as their soul;
With Zeuxis' Helen thy Bridgewater vie,
And these be sung till Granville's Myra die:
Alas! how little from the grave we claim!

Thou but preserv'st a face, and I a name."

And shall we cut ourselves off from beauties like these with a theory? Shall we shut up our books, and seal up our senses, to please the dull spite and inordinate vanity of those "who have eyes, but they see not-ears, but they hear not-and understandings, but they understand not," and go about asking our blind guides whether Pope was a poet or not? It will never do. Such persons, when you point out to them a fine passage in Pope, turn it off to something of the same sort in some other writer. Thus they say that the line, "I lisp'd in numbers, for the numbers came," is pretty, but taken from that of Ovid-Et quum conabar scribere, versus erat. They are safe in this mode of criticism: there is no danger of any one's tracing their writings to the classics.

Pope's letters and prose writings neither take away from, nor add to, his poetical reputation. There is, occasionally, a littleness of manner, and an unnecessary degree of caution. He appears anxious to say a good thing in every word, as well as every sentence. They, however, give a very favourable idea of his moral character in all respects; and his letters to Atterbury, in his disgrace and exile, do equal honour to both. If I had to choose, there are one or two persons, and but one or two, that I should like to have been, better than Pope!

Dryden was a better prose-writer, and a bolder and more varied versifier, than Pope. He was a more vigorous thinker, a

more correct and logical declaimer, and had more of what may be called strength of mind than Pope; but he had not the same refinement and delicacy of feeling. Dryden's eloquence and spirit were possessed in a higher degree by others, and in nearly the same degree by Pope himself; but that by which Pope was distinguished was an essence which he alone possessed, and of incomparable value on that sole account. Dryden's Epistles are excellent, but inferior to Pope's, though they appear (particularly the admirable one to Congreve) to have been the model on which the latter formed his. His Satires are better than Pope's His Absalom and Achitophel is superior, both in force of invective and discrimination of character, to anything of Pope's in the same way. The character of Achitophel is very fine; and breathes, if not a sincere love for virtue, a strong spirit of indignation against vice.

Mac Flecknoe is the origin of the idea of the Dunciad; but it is less elaborately constructed, less feeble, and less heavy. The difference between Pope's satirical portraits and Dryden's appears to be this, in a good measure, that Dryden seems to grapple with his antagonists, and to describe real persons; Pope seems to refine upon them in his own mind, and to make them out just what he pleases, till they are not real characters, but the mere driveling effusions of his spleen and malice. Pope describes the thing, and then goes on describing his own de scription till he loses himself in verbal repetitions. Dryden recurs to the object often, takes fresh sittings of nature, and gives us new strokes of character as well as of his pencil. The Hind and Panther is an allegory as well as a satire; and so far it tells less home; the battery is not so point-blank. But otherwise it has more genius, vehemence, and strength of description, than any other of Dryden's works, not excepting the Absalom and Achitophel. It also contains the finest examples of varied and sounding versification. I will quote the following as an instance of what I mean. He is complaining of the treatment which the Papists, under James II., received from the church of England.

"Besides these jolly birds, whose corpse impure Repaid their commons with their salt manure,

Another farm he had behind his house,
Not overstocked, but barely for his use;
Wherein his poor domestic poultry fed,
And from his pious hand 'received their bread.'
Our pampered pigeons, with malignant eyes,
Beheld these inmates and their nurseries;
Though hard their fare, at evening, and at morn,
(A cruise of water, and an ear of corn,)
Yet still they grudged that modicum, and thought
A sheaf in every single grain was brought.
Fain would they filch that little food away,
While unrestrained those happy gluttons prey;
And much they grieved to see so nigh their hall,
The bird that warned St. Peter of his fall;
That he should raise his mitred crest on high,
And clap his wings, and call his family
To sacred rites; and vex the ethereal powers
With midnight matins at uncivil hours;
Nay more, his quiet neighbours should molest
Just in the sweetness of their morning rest.
Beast of a bird! supinely when he might
Lie snug and sleep, to rise before the light!
What if his dull forefathers us'd that cry,
Could he not let a bad example die ?
The world was fallen into an easier way:
This age knew better than to fast and pray.
Good sense in sacred worship would appear,
So to begin as they might end the year.
Such feats in former times had wrought the falls
Of crowing chanticleers in cloister'd walls.
Expell'd for this, and for their lands, they fled;
And sister Partlet with her hooded head

Was hooted hence, because she would not pray a-bed."

There is a magnanimity of abuse in some of these epithets, a fearless choice of topics of invective, which may be considered as the heroical in satire.

The Annus Mirabilis is a tedious performance; it is a tissue of far-fetched, heavy, lumbering conceits, and in the worst style of what has been denominated metaphysical poetry. His Odes in general are of the same stamp; they are the hard-strained offspring of a meagre, meretricious fancy. The famous Ode on St. Cecilia deserves its reputation; for, as a piece of poetical mechanism to be set to music, or recited in alternate strophe and

antistrophe, with classical allusions, and flowing verse, nothing can be better. It is equally fit to be said or sung; it is not equally good to read. It is lyrical, without being epic or dramatic. For instance, the description of Bacchus,

"The jolly god in triumph comes,

Sound the trumpets, beat the drums;
Flush'd with a purple grace,

He shows his honest face,"

does not answer, as it ought, to our idea of the god, returning from the conquest of India, with satyrs and wild beasts, that he had tamed, following in his train; crowned with vine leaves, and riding in a chariot drawn by leopards-such as we have seen him painted by Titian or Rubens! Lyrical poetry, of all others, bears the nearest resemblance to painting: it deals in hieroglyphics and passing figures, which depend for effect, not on the working out, but on the selection. It is the dance and pantomime of poetry. In variety and rapidity of movement, the Alexander's Feast has all that can be required in this respect; it only wants loftiness and truth of character.

Dryden's plays are better than Pope could have written; for though he does not go out of himself by the force of imagination, he goes out of himself by the force of common-places and rhetorical dialogue. On the other hand, they are not so good as Shakspeare's; but he has left the best character of Shakspeare that has ever been written.*

* "To begin, then, with Shakspeare: he was the man who of all modern, and perhaps ancient, poets had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously, but luckily: when he describes anything, you more than see it, you feel it, too. Those who accuse him to have wanted learning give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards and found her there. I cannot say he is everywhere alike; were he so, I should do him injury to compare him with the greatest of mankind. He is many times flat and insipid: his comic wit degenerating into clenches, his serious, swelling into bombast. But he is always great when some great occasion is presented to him. No man can say he ever had a fit subject for his wit, and did not then raise himself as high above the rest of poets,

Quantum lenta solent inter Viburna Cupressi."