^5n ni^ 
 
 V. X 
 
 i5i
 
 ( iSs) 
 
 ESSAY VII. 
 
 On Gray's Ciilrcii-Yard Elegy, 
 
 THE Elegy written in a Country 
 Churcb-Vard, troni the nature (jf 
 its hibjetfl, anil the merit of its executi- 
 ons, lias obtained an uncommon ihare of 
 popularity. Tbe principal refped in 
 wbicli it has been fuppofed defective, is 
 a want of plan ; an ingenious \\ ritcr has 
 obfervcd, * tliat it is thought by fome to 
 
 * be no more than a contufed heap of 
 
 * fplendid ideas, thrown together with- 
 
 * out order, and without proportion.'* 
 That it is, however, not deilitute of 
 
 * Mr. Knox's Efiays, Moral and Literary, Vol. i, p. 
 
 92, id. Edit. 
 
 plan.
 
 i86 CRITICAL ESSAYS. 
 
 plan, the following analylls will fuflicl- 
 cntlv dciiionftratc : whether the niran;^c- 
 mcnt miglit not have been in fonie j>ai t^ 
 improved, is another qucftion. The 
 Poet very graphically delerihes thepro- 
 cefs of a calm evening, in which he in- 
 troduces himfelf wandering near a Coun- 
 try Cluirch-Vard. From the fight of 
 the place, he takes occafion, by a few 
 natural and fimplc, but important cir- 
 cuniQances, to charaderizc the life of a 
 pcafant; and obferve?, that it need not 
 be difdaincd by ambition or grandeur, 
 whofe mofi: dillinguillicd fuperioritics 
 mull all terminate in the grave. I Ic then 
 proceeds to intimate, that it was not 
 from any natural inequality of abilities, 
 but from want of acquired advantages, 
 as riches, knowledge, &c. that the 
 humble race, whofe place of interment 
 he was furvcying, did not rank with the 
 mort: celebrated of their cotemporaries. 
 The fame impediments, however, which 
 obftrudled their courfe to grcatnefs, he 
 
 thinkj
 
 CRITICAL ESSAYS. 1S7 
 
 thinks alio prccludcil their pro^rcis iu 
 vice, and, confcqucntly, th:U what was 
 lofl in one rcfpcd, was gained in the 
 other. From this ren;.v:iu)n he not un- 
 naturally proceeds to remark, on that 
 univerfality of regard to tlic deceated, 
 which produces, even for thefe huniMc 
 villagers, a coinnK'nioratlon of their pall 
 cxillencc. Tlien turning his attention 
 on hinifelf, he indulges tlie idea of his 
 beincr conirnenioratcil in the fuiie n-.an- 
 
 o 
 
 ner, and introiluces an epita.pli which lie 
 fuppok'S to he eniployed on tlie t)cca- 
 fion. The matter here, it mull be al- 
 lowed, is not ex ten live nor uncommon ; 
 the poem mufl, therefore, ikpend much 
 on the manner for its importance : 
 
 \', I. Th'.- ciirfcw tolli the k:ic!l <>f ji.Mtiu^' d.iy ; 
 Thf lov.in;/ licrJ witul Hinvly o'tr tlic Ic.i ; 
 The pl'uvnan hoiucwartl plods his weary wav, 
 And Lavc-. t!ic v.orlJ to darkiicf^ aiul tf> ii.e. 
 
 Now fude> th'.' ^'liinuicrliij l.uidfcajyj on t.'.c 
 fi-hr, 
 And all lYir air a fylema ilJir.cfb ho'.J..,
 
 i83 CRITICAL ESSAYS. 
 
 Save wh'.rc the birtlc wIkc!^ hi-».Ir.>:i:n/ Hijlht 
 And tlrowfy tinklin^s lull the il ilunt vA-h j 
 
 Save that, from yoiu! r i'. v-m..r.tic,!to\vci. 
 The- moping o-.vl d>-\.> to ;!iemof»n cornpla';! 
 
 Of fu<.h, as waiurriii ' near hs-T ll-crct l>o'.v*r, 
 M»)lc(l her ancient Military rci^n. 
 
 Poetry can alone univcrlally iiitcrcll, 
 \vhcn it ** brinLis b;u k the memory 
 of the pad," when it recall?; the objects 
 we have Teen, and the emotions \vc h;ivc 
 felt. Every man of ohllrvation, who 
 has wandered in the fields in an autum- 
 nal cvcnin:;, will acknowledge Cray's 
 pi(flure to be drawn from nature. The 
 circumflanccs which denote tlie pro- 
 grcfhon of time, are regularly intro- 
 duced, and finely marked ; as the depar- 
 ture of day;* the homeward return of the 
 herd, and of the plowman ; the gradual 
 fading of the landicape; the fubfequent 
 filence, broken only by the hum of tho 
 beetle; the diftant tinkling of the wea- 
 ther bell, and hooting of the owl ; 
 
 • r *ri :' r^ i/.ij \va5 undoubtedly inlcr.dcd for /.';;;ijyi»«. 
 
 and
 
 CRITICAL ESSAYS. iS; 
 
 and laftly, the riling of the moon, by 
 which the Church-VarJ, the ohjed of 
 contemplation, becomes vifiblc. 
 
 Parallels between different fubjecls are 
 feldom natural or jud enough to be 
 nleafi ng ; they cxifl oftener in the fancy 
 of the perfon comparing, than In any 
 actual rcfemMance of the things com- 
 pared. TI.. c are inflanccs however. In 
 wlilch tlicy have their advantages : the 
 fuppofcd tolling of the curfew, jurt. as 
 the i\in was leaving the horizon, i.s not 
 whollv dellitute of analo_:jy to the tolling 
 of what is called the palling bell for the 
 deccafed. 'liic mention of a knell, na- 
 turally recalls this Idea, and fpreads a 
 folemnlty over the mind, which })rc- 
 pares it for the fentlment.s that loUow. 
 
 A Periodical Writer * has objected to 
 this line. 
 
 * The c irft-.v tolls the ktitll of parting day.' 
 • The Babllr, Vol. i. No. 55. 
 
 The
 
 190 CRITICAL ESSAYS. 
 
 The vcrh being ufcd In the prefent, In- 
 ftcndofthc preterite, f art wg in{ic:{d of 
 fiirtCii, produces (he thinks) a falfe me- 
 taphor, as the hell is never rung till 
 the perfon is dead. Among our ancef- 
 tors, however, the bell was rung while 
 the party was expiring, in order to ob- 
 tain the prayers of the neighbourhood 
 on his behalf.* 
 
 There is an anachronifm, in intro- 
 ducing the curfew, acuflom of a remote 
 period, in a modern poem, in which 
 the poet alio introduces himfelf; but tliis 
 is a venial tranlgrcfiion of propriety, for 
 which the goodnefs of the poetry am- 
 ply com pen fates. This ft.;nza has, in- 
 deed, many beauties: there are, perhapi, 
 few inftances, wherein the fenfc is more 
 enforced by corrcfpondcnt found, than 
 
 • The very exprcfT.on of pajlng hell accords with tliii 
 idea. iJecliRANo's cJitiun of Bournl's Antii^uit-i- 
 tes Vulyares, page 12. 
 
 i.i
 
 CRITICAL ESSAYS. 191 
 
 in that of the * herd ivinJing Jloivly o'er 
 * the li'iJt and that of tlic verb * ploti,' 
 applied to the movement of the plow- 
 man. The idea of fjlitude, alv.ays 
 grand, and often pleafing, is flrongly 
 imprefled by the circumllance of the 
 cattle, and the peafant relinquKhln^ the 
 fields to the wandering poet. 
 
 The Beetle ^ was introduced in poe- 
 try by Shakefpeare, but that circum- 
 Aance is no proof of inutation in Gray; 
 both poets undoubtedly transferred im- 
 mediately from nature, an iin:ii;c fo very- 
 common. Shakefpeare has made the 
 mod of his defcription ; indeed, far too 
 much, confidering the occafion : 
 
 • The name of beetle points out thc^r?/;, not the 
 /ptciis of infccL 'Ihat here intended is the l..r£i- black 
 one, fo common in autumnal anJ mild wintry cvcrv- 
 ings, as often to fly with confiJerable force again!! ihc 
 faces of pcrfons walking abroad. This has b<en con- 
 founded with a fummcx beetle, viz. the- ccimmon ticc 
 tocLchafcr. 
 
 To
 
 192 CRITICAL ESSAYS. 
 
 -To black H'jtatc's fununons 
 
 The fliarJ-born bccdc with his drowfty hum, 
 Hjth rung night's yawiiinv: peal. • 
 
 Macbeth, ^vho had committed one mur- 
 der in perfoii, who inteiulcd to com- 
 mit another by proxy, and was about 
 to acquaint his wife with his intention, 
 could not be very likely to talk of Hecate 
 funnnoning tlie beetle * With his ilro\ify 
 * bum to ring flight's yiinning peal i 
 nor to recoiled that fuch beetle had 
 its place of nativity under a tile fliard.*- 
 The imagination muft be indeed fer- 
 tile, which could produce this ill 
 placed exuberance of imagery. Ihe 
 Poet, when compofing this padagc, 
 mufl have had in his mind all the remote 
 ideas of Hecate, a heathen goddefs, of a 
 beetle, of night, of a peal of bells, and of 
 that ad ion of the mufcles, commonly 
 called a gape or yawn. 
 
 • Shakcfpcarc was remarkably fomi of dcfcripuvc mi- 
 DUtcnef:^ ; his beetle i> yZvrj'-^jr/,', hi^ bat i:, cl'-\ji(r'J, 
 with many other inrtances of the fame kiiiJ, intioduced 
 with more or Kf propriety. 
 
 Dr.
 
 CRITICAL ESSAYS. 193 
 
 Dr. Hill, in his Natural Hii^ory of 
 Animals, has objci^td to the caufc align- 
 ed by Gray, for the hollowing of the 
 owl : the voice of that bird, he thinks, 
 is not the voice of complaint, but rather 
 of joy or exultation. Perhaps we arc 
 not futlicicntly acquainted with the 
 axonorny of nodurnal fowls, to decide 
 pofitivcly what is the real occafion of 
 their clamour. That it is produced by 
 moleftation, we have no rcafon to be- 
 lieve, becaufe they are feldcm moleiled, 
 and often clamorous ; that it is produced 
 by plcafure, we have no certainty, nor 
 are we more certain that it proceeds 
 from hunger. Owls have been noticed 
 to be more vociferous in the fame places, 
 in fome years, and in fume fcafons of 
 the year, than in others. During the 
 breeding time, when the feathered race 
 in general are mofl noify, it is remark- 
 able that this genus is uncommonly 
 filcnt : two of thele animals often feein 
 to anfwcr each other's voices ; and a (in- 
 N glc
 
 194 CRITICAL ESSAYS. 
 
 gle one has fomctimcs fcemed to chufe 
 a fituatlon, wherein its own voice might 
 be returned by an echo. The paiTagc 
 in queftion, however, is truly poetical ; 
 and though it may afiign a wrong caufe, 
 in a matter where we cannot affign a 
 right one, few pcrfons perhaps will wiHi 
 it had been omitted. 
 
 V. 13. Beneath thofo rugged c!m«, that yew trcc> 
 fliade, 
 Where heaves the turf in many a moulil'rin^ 
 heap, 
 Each in his narrow cell for ever laid. 
 
 The rude forefathers of the hamlet flcc|>. 
 
 The brec/.y call of inccnft-brcathing morn. 
 The fwallow twittering from the ftraw- 
 built (bed, 
 The cock's ftirill clarion, or the echoing horn, 
 No more (ball rouii.- them from their lowly 
 bed. 
 
 For them no more the blazing hearth fliaU 
 burn, 
 Or bufy houftwife ply her evening care ; 
 No children run to lifp their fire's return, 
 Or climb his kneCi tlicenvy'd kifito (hare. 
 
 Oft
 
 CRITICAL ESSAYS. 195 
 
 Oft did the hancft to their fickle yield. 
 
 Their furrow oft the rtubborn glebe h.ii * 
 broke : 
 How jc-cuiid did they drive their team afield f 
 How bow'd the woods beneath their fturdy 
 ftroke I 
 
 The rural d:iy is here moll bc.iutifully 
 depided : the images arc Co obvious, 
 fo natural in themfelves, and fo natu- 
 rally connetfled, that one is furprized 
 to find them now hrA placed in this 
 pleafing point of combination. All the 
 circumftances, except the morning 
 breeze, which is perhaps too poetically 
 made the voice of a profopopoiea, * TLg 
 * breezy call, C^c' are cxprelfed without 
 diminution of dignity, in the fimplert; 
 
 • The other members of this llanza are finill.ir, with 
 regard to the notation of time ; the verbi are all in the 
 fimplc preterite ; and if the meafurc of the verfe would 
 have allowed the omilfion of the auxlliar lat, this line 
 would have been of the fame Jlrudurc, and been better. 
 If any auxlliar were admitted, I think it fliould be the 
 prcterpluperfeil had, as fpcaking of afti performed pre- 
 vious to a certain point of pall time, viz. that of the 
 peafant's deceafe. 
 
 N 2 manner
 
 196 CRITICAL ESSAYS. 
 
 manner irnaginaMc; cottage life is deli- 
 neated in the mofl pleafing colours, 
 every thing amiable is introduced, every 
 thing difgufling or ridiculous is fup- 
 prcni'd. There is, however, a love of 
 order in fomc minds, which would have 
 been better fatisficd with a dlfTcrcnt 
 arrangement of thcfe rtan'^^as : the rural 
 morning, as in nature, might have been 
 immediately fuccccdcd by the rural mid- 
 day, and the rural mid-day by the rural 
 evening. Dy this means alio, the mind 
 would have repofed on the pleafing and 
 interedlng idea of the pcafant furround- 
 ed by his children. 
 
 The hrccry call of inccnfo-brcathing morn, 
 'J'hc fwallovv twittcriiijj from th'.- Hraw-huilt 
 fhcJ, 
 
 The cock's flirill clarion, or the echoing hnrn, 
 No more (hall ruulc them tVom tlicir lowly bcJ. 
 
 Oft (lid the han cfl to their fickle )-:cld. 
 
 Their furrow ofi i!ic ftubborn gkbc h;is broke : 
 
 How
 
 CRITICAL ESSAYS. 197 
 
 IIjw jocunJ did they drive their ttarn afield ! 
 How bov/'d the w.x)ds beneath their fturdy 
 ftrokc ' 
 
 For them no more tlic blazing hearth (hall burn, 
 Or hufy houfewife ply her c\cniir.; care ; 
 
 KochilJrcn run tdlilj) their fire'*; return, 
 Or clinil) his knees the cnvy'd kil's to (hare. 
 
 The matter of tranfporitiijii might, in- 
 deed, have been carried ilill flirther; 
 the bufiiiefs of the refjieCtive feafons 
 might have been meiitioncd in regular 
 progrefilon : 
 
 Ofi jocund did tht-y drive their team afield, 
 Their furrow oft the ftubborn glebe had broke : 
 
 How did the harvcfl to their fickle yield I 
 
 How bow'd the woods beneath their flurdy 
 ftroke ! 
 
 The poetry fecms to fufFer little or no- 
 thing from this alteration. One objec- 
 tion may perhaps arife, that by infift- 
 ing on a multiplicity of diurnal adls, 
 in driving the team afield, * O/t jocund^ 
 * Ci?c.' inlleadofa multiplicity of annual 
 N 3 operations.
 
 198 CRITICAL ESSAYS. 
 
 operations, in gathering the harvcft, ' Oft 
 * didt G?r.' we loofc the plcafing idea of 
 the fuppofed longevity of a runick. It 
 may alfo be quelHoncJ, whether the ex- 
 clamatory * }lo\i\ has not more pathos, 
 when applied to the mental hilarity of 
 the carter, than when applied to the cor- 
 poreal energy or agility of the reaper. 
 
 V. 29. Let not ambition mock their ufcfiil toil. 
 Their homely joy.-, and tlcftiny obfcurc ; 
 Nor grandeur hear, with a difdaiiiful finilc. 
 The (hort and fimplc annal> of the poor : 
 
 The pleonafm and pcriffology, havehccn 
 already difcriminated as bearing, one a 
 good fcnfe, the other a bad one ; a^ 
 modes of fpeech, in both of which more 
 words arc ufed than are abfolutcly nc- 
 ceflary, but as modes of fpeech, eflen- 
 tially different in their intention and 
 effect.* The pleonafm is here beautifully 
 exemplified ; all, in fid, is faid in the firfl: 
 two lines of the ftanza, * Let noty &c.' that 
 is faid in the third and fourth; but theite- 
 
 • Sec page 43. 
 
 ration
 
 CRITICAL ESSAYS. 199 
 
 ration is a climax that iinpreflcs the idea 
 with additional vigour. Few poetical 
 images have been more rtrongly drawn, 
 than this of * Grandeur f mi ling difdain- 
 
 * fully at the annals of the poor * 
 
 V. 3j. The boaft of heraldry, the ponip of powV, 
 And all th;it Beauty, all that Wealth e'er 
 gave, 
 Awaits* alike the inevitaMe hour; 
 
 The paths of glory lead but to ilie grave. 
 
 This ftanza is clvaraifterizcd by energy, 
 and melody, in tlic highcft degree. Poe- 
 try attains her purpofe by various ways ; 
 Ibmetimes by fmgle, and fometimes by 
 combined efforts ; and where variety 
 docs not produce confufion, it often 
 adds force. In a hiftory piece well exe- 
 cuted, a number of perfons, all of dif- 
 i\T\(X charader, but co-operating to one 
 general end, will moftly enhance its 
 
 • It Ihould have been aivait, the plural, for it includes 
 
 a number of circumnanccs. 
 
 N 4 value.
 
 2C0 CRITICAL ESSAYS. 
 
 value. We have here, fir/l, a group of 
 abAra(fl idcns, * The boajl of berijlJry, 
 ' &c.' fo forcibly convey 'd, that \vc 
 ahiioft impcrfonatc ihcni in our own 
 mind, as * awaiting the approach of the 
 
 * inevitable hour :' the fccnc is then chan- 
 ged, and the fame circumftancc reprc- 
 fenicd in another manner; we fee the 
 
 * paths of glory ^ however different or dift- 
 ant, all converging to, and concluding 
 in, one ccntr.il point, they * lead but to 
 
 * the Grave.' It is obfervable, that the 
 poet here properly confines himfelf to 
 the gifts of fortune, * The bjiijl of heral- 
 
 * dry^ isc. one inrt:ancc only, that of 
 bc;.uty, excepted ; thus artfully prepar- 
 ing us for his fubfcquent ftanzas, * /Vr- 
 
 * haps in this neglected f pot ^ ^c' where 
 he introduces the gifts of nature as equal- 
 ly common to the rich and the poor. 
 If beauty, which, as a gift of nature, is 
 at leaf! as frequent among the latter as 
 among the former, had been totally 
 omitted, the pafTige might have gained in 
 point of regularity, though it would have 
 
 loft
 
 CRITICAL ESSAYS. 201 
 
 loft in point of pathos. That even Gray 
 couUi not unite all advantage:., cnly 
 proves, that, in all human compoiitions, 
 there mufl: be impcrfeaion. 
 
 V. 37. Nor you, yo prouJ, Impute to thrfi tl: fuilt ^ 
 
 If memory oVr ihcir lo'.uh no trophicN r;iirc.-. 
 
 Where thro' the lon^-t-'rawn ific anJ fretted 
 
 va'.ilr. 
 
 The |x-a!in^ ^juhem f.vtllb tlic iwteof jir.iiA:. 
 
 C.in ftorieJ urn, or uiiim-tecl bud, 
 
 Hack to itN in.mfi.)!! call tli- fltetirij.' breath? 
 
 C.m n.'iu>ur*> voice provoke the filer.! dult. 
 Or Flattery i'Xtlh the dull colJ car <»f death? 
 
 The phrafc, ' impufe to thefc the faulty" 
 does not fecm very liappily to exprefs 
 the poet's idea ; which was obvioufly 
 this, that the great have no pretence to 
 defpifc the nuan for the privation of thofe 
 funeral honours, which can avail nothing 
 to the dead, of any rank whatever. The 
 fecond ftanza, * Can (loricd uru^ tfr.' allcs 
 quellions, which furely need not have been 
 alked, becaufe they can be anfwercd only 
 
 in
 
 202 CRITICAL ESSAYS. 
 
 in the negative ; they arc, however, afk- 
 €d, with fuch dignity and grace, that we 
 mufl not only pardon, but admire them. 
 
 The Author of thcfc EHays has known 
 fo many inflanccs of a coincidence to- 
 tally cafual, a rcfemblance of fcnti- 
 ment or cxprcflion, where there could 
 be no pofiibility of communication, tliat 
 he fcarccly dares to fay what he thinks 
 is, or is not, really a dcfigned or acci- 
 dental imitation ; or in other words, 
 where memory has, or has not, been 
 either confciouHy, or unconfcioufly con- 
 cerned. When Gray wrote tliefe ftanzas, 
 he pofilbly might have been reading 
 Tickcll's beautiful Poem on the Death of 
 Addifon ; and the Weftrainfter-Abbey 
 fccnc might confcquently furnifli fome 
 of his Disjecli Membra Poetce, This 
 however is by no means certain ; a man 
 of Gray's difpofition would undoubtedly 
 fomclimes frcquentour vcnerableGothick 
 
 Cathedrals,
 
 CRITICAL ESSAYS. 203 
 
 Cathedrals,* and might copy immedi- 
 ately from the orIglnal>, his * long cfraiim 
 
 * il^^i * fretted "juult,' * fcaling anthem^ 
 and * animated J} ntuc' Be this as it 
 may, it is at leaft worth obfcrving, how 
 nobly, yet, how varioufly, two great 
 mailers |{ have touched the Himc fuhjed : 
 
 How fiU-nt did his t-lJ companions tread, 
 I'y midnight lanip>, the nianfions of the dead; 
 Thro' breathing ltatiif<, then unheeded things. 
 Thro* ro\v> of warrior?, and thro* walks of 
 
 kings ! 
 ^Vhat awe did the flow folemn knell infpirc. 
 The pc:ding or^ran, and the paufirig ch<»ir. — 
 
 TlCKELL, 
 
 V. 4". Perhaps in this n(:glo»5led fpot is bid 
 
 Some heart, once pregnant with cclcftial fire j 
 Hands, that tiie rod of empire nnght have 
 fway'd, 
 Or wak'd to extafy the living lyre. 
 
 • We have Gray's own authority for this. See Ma- 
 
 son's editionof his Poems, i:c. quarto, p. 260. 
 
 jl TiCKtLL, however ncglcfled his works may be, was 
 really a genuine poet. 
 
 .But
 
 204 CRITICAL ESSAYS. 
 
 But Kno'AlcJgc to their eyes her ample ju^zc. 
 Rich '.vith die fpoll>; of Tiiiic, did ne'er unroU ; 
 
 Chill I'cnury reprcfs'd th.ir nohle r.i^c-. 
 And froze t})C genial current of the LuJ. 
 
 Full m^ny 2 gem of pureftmy forcnc. 
 
 The d^ik uufithomM c;ivcn of oce^n bi-ar; 
 
 Full inaiv.' a fl(iWcr is born to blufli unf.cn. 
 And waftc its fwectnco on t!.c def.ir: air. 
 
 The EngliHi language probably cannot 
 boaft a finer fpeciinen of poetry than 
 thefc rtanzas. The fuppofition of the 
 powers pofll-fll'd, of the circumftances 
 which prevented their exertion, and the 
 jlluftrative comparilbns, are all commu- 
 nicated with a grandeur and energy that 
 have feldom been equalled. The Poet 
 calls from the graves before him, the 
 hands that might have wielded the fcep- 
 tre, or ftruck the lyre, and creates in 
 our imaginations the allegorical beings, 
 who reprefled their progrefs to greatnefs ; 
 Knowledge with-holding the fight of her 
 roll, and Penury calling on them a look, 
 
 which
 
 CRITICAL ESSAYS. 2D5 
 
 which might be mct.iphorlcally f;iid to 
 freeze or congeal their faculties.* 
 
 There is in Young's Night Thoughts, 
 a profopopoica of MiJnight, waving a 
 lirt of mortality in the llarlled t)e, or 
 fight of Fancy : 
 
 By the lon^ lifl nffwlft :i'o:r.i!:ty. 
 
 From Ad.im t]^»\v!lw.'.r'!^ vi :h:« cv'nlng's kncif. 
 
 Which Mi(inij:!»: v.'avcs in Fcncy's H.irtlcd eye. 
 
 Gray undoubtedly h.ui read the lints, yet 
 it is qucflionahle whether he tliought of 
 
 • The dcfigncr, arJ cr.;;ravcr, have more than cncc 
 employed their rcfpciti\c arts, in producing an cmbtl- 
 liihmcnt to this noldc pocni. The poet leaning over 2 
 tomb-ftonc, given us by one, and the funcr..! poirefTion 
 by another, arc trite and obvious i.lcas. The llanza in 
 queAion uouI<i afi'nrd a fcnr picture: tuo of Grav's 
 Fore-fathers ff the han-.Ict, might be introduced r'-po- 
 fmg from their labour ; dignity snd grace might be 
 given to their forms; the eye of one beaniing cdelUal 
 fire, might ca(l a regretful look at Knowledge turning 
 from him with her folded roll; the other might indlg- 
 r ir.ily regard Penury, who at a diilancc IhouIJ, \vi;h 
 a Culm fe\er;ty of countenance, pf)int out to him a 
 plojph, or fome other inftrum-.ni of that cultivation, 
 which it u.n his lot to attend to. 
 
 them
 
 2o6 CRITICAL ESSAYS. 
 
 them when he produced this not very 
 diflimilar image of Knowledge with her 
 ample page. The adion of the perfon 
 is however properly varied, as the ge- 
 neral fubjcd required ; Midnight is ex- 
 pofing the contents of the roll, knov.'Icdge 
 is concealing them. There is in Pope's 
 Rape of the Lock, a palTage which pof- 
 fibly fupplied our author with his fen- 
 timcnt ; and there is in Young's Satires, 
 another to which he might be indebted 
 for his turn of cxprefTion : 
 
 Like rofcs that in dcfcrts bloom and ditv 
 
 Pope. 
 Full many a flower is bora to blufh unfctn. 
 
 Gray. 
 And w-aflc tlicir mufic on the favagc race. 
 
 Young. 
 And wafte their fwcctnefs on the dcfert air. 
 
 Gray. 
 
 V. 57. Some village Hampden, that, witli d.uintlcfs 
 bread. 
 The little tjTant of his fields withftooJ j 
 
 Some
 
 CRITICAL ESSAYS. 207 
 
 Some mute inglorious Milton here may reft ; 
 Some Cromwell guiltlcfs of his country's 
 blood. 
 
 The applaufc of liftening fcnates to command, 
 The threats of pain and ruin to dcfpifo, 
 
 To fcatter plenty o'er a fmiling land. 
 And read their hiftory in a nation's eyes. 
 
 Their lot forbade : nor circumfcrib'd alone 
 Their growing virtues, but their crimes con- 
 fin'd ; 
 
 Forbade to wado through flaughter to a throne. 
 And (hut the gates of mercy on mankind ; 
 
 The ftruggling pangs of confcious truth to hide. 
 To quench the blufhts of ingenuous Ihamc, 
 
 Or heap the (brines of luxury and pride. 
 With incenfc kindled at the Mufc's dame. 
 
 The dodrine which our poet had been 
 inculcating in general terms, and illuf- 
 trating by remote fmiilc, by the gem 
 and the flower, he here proceeds to il- 
 luftrate, by fuppofed particular example; 
 but fome of the inflances adduced in 
 exemplification, do not feem happily 
 difpofed. The mind is always bcil £1- 
 
 tisfied^
 
 2o8 CRITICAL ESSAYS. 
 
 tjsficd, when its finds the difFcrent parts 
 of a paragraph, bearing cither a clolb 
 analogy, or regular contraft, of thought 
 and exprcfiion. The * Hands t bat might 
 
 * have borne the rod of inipire,' fliould have 
 been, as it were, realized in the mention 
 of fome monarch of fupcrior celebrity; 
 as the * Hands that might haie luakid 
 " the living lyre* have their realization 
 in the mention of Milton. Inrtead of 
 this, wc now meet with images of ano- 
 ther charader; Hampden ^ pat riot y and 
 Cromwell a li-arrior. The dcfign, how- 
 ever, which is thus complex and con- 
 fufcd, might have been rendered fimplc, 
 if the radical ftanza, * Perhaps in this 
 
 • negle61ed Jpoty &i\' had flood totally 
 unconnedled with its fucceflbrs, which 
 would have been the cafe, if the inflance 
 of Milton had been omitted. The King 
 and the Poet, would then have been 
 equally difmifled, without perfonal rc- 
 prefentation ; and Hampden and Crom- 
 well, the Senator and the General, would 
 
 have
 
 CRITICAL ESSAYS. 209 
 
 have become principals, to whom the 
 two fiiccccding ftanzas, * The applaufc 
 
 * of liftcn'tng Jhiates, cfr,' would have 
 borne a proper relation ; the fenatorial 
 attributes being naturally appended to 
 the one, and the military criminalities 
 to the other. Had this plan been pur- 
 fucd, the lart; ftanza of the above quo- 
 tation, * The Jlrugglhig pangs , c^r,' muft 
 have been fupprelTed ; and indeed it may 
 be doubted, v/hcther much lofs would 
 have been fullained by its fupprcfnon. 
 Lclides its too long I'ufpcnding the 
 dole of the period, it contains fenti- 
 mcnts perhaps not llridly jufl: it fup- 
 pofes an uniform innocence in humble 
 life, which alfuredly cannot be found 
 there ; the villager will learn * to hide 
 
 * the pangs of jlruggUng truth,' or ia 
 other words, to tell a l)e with a good 
 grace, as well as the politician or the 
 trader i nor will he often be behind 
 hand with his fuperiors, in * quenching 
 
 * the bJup.es offuuncy or acquiring what 
 
 O is
 
 210 CRITICAL ESSAYS. 
 
 is commonly called a confuminatc flock 
 of impudence. 
 
 That which Gray has left impcrfed. It 
 may be thought (and perhaps judly) prc- 
 fumption to attempt to amend ; to ren- 
 der the preceding obfervatioiis more in- 
 telligible, is therefore all that Is meant 
 by the following alterations : 
 
 Some heart of.cc pregnant with cclcnialfirc ; 
 Hands that the roJof em;)irc ini^ht have f;v.iy\f, 
 Or wulc'd to cxiufy ilie living lyre : 
 
 But knowlcibc to tluir eyes l;er ample pa^'C, 
 Rich with th.e fjviilsot' Time, iliJ ne'er unroll ; 
 
 Chill IVnury reprcf/il thvirdarinj; rngc, 
 And froze the vi^c.roiis current of the foul ; 
 
 Full ninny a L;cm of purcfl ray fercne, 
 
 The d.irk unf;.t]iOin'd ca\es of ocean bear j 
 
 Full main" a P.ower is born to blulli hnfi.en. 
 And watle its fweetncfb on the def.irt air. 
 
 Some vi]la.:e Hamp-lcn who wiLh dauntkr. brcaft. 
 The Lttlc t}rant of hi^ lklJ> withflood ; 
 
 Soir.t
 
 CRITICAL ESSAYS. 211 
 
 Some bold afpiriiii: Cromwell here may reft, 
 Obfcure, and cullikTs of his country's blood: ' 
 
 The applaufe t>f lilltning fenatcs to command, 
 The llirtMts of pain and ruin t<» tlefpilc. 
 
 To fcatter plenty o'er a fmiling land, 
 And read their hiltory in a nation's eyes. 
 
 Their lot forbad ; nor circumforib'd .ilonc, 
 
 Their iTowing virtues, but their crimes conf.n'dj 
 
 r<,rb;ul to wade ihrouizh llaiijhtcr to a tlirone, 
 And iliut the gates of mercy on mankirul. 
 
 There Is another method by wliich tills 
 paflagc iniglu be rendered more regular. 
 Tile radieal Ilanzi, * Pcrluips in this ricg- 
 
 * Icclcil J'l'Ott ^r.* Ipecitics only fimplc 
 eminence, without adjuuLt of either good 
 or evil : the fourth ll.uiza, * Some 'villiigd 
 
 * IldinpJ.Ky by its pcrfonal iliuriration, 
 rather prematurely introiluces both, and 
 might therefore be cx]>unged ; tlie reft 
 would then confillently expatiate on thofc 
 qualities in a variety of their operations: 
 
 lVrhr.p> in t:;is ncgleilcd fjiot i^ Lid 
 
 Some lieart, once prci^naat « idi celeftial fir? ^ 
 O 2 Hand*
 
 212 CRITICAL ESSAYS. 
 
 Hands that the roti of empire mi^hrhavcfxny*.!. 
 Or wak'd to cxtafj* the li\ Ini' lyre ; 
 
 Hut knowIcJL'C to tlicl; eyes her ample pngc. 
 Rich with the rp<;il> f-f time , diJ sv.'er unroll ^ 
 
 Chill jK-nwrv reprdsM their during rn;:?. 
 And fro/c the vigoroub current of the foul : 
 
 Full mnny a rem of | iircft rry fircne. 
 
 The Jiirk unfirhoin'd c.iveN oi occmi lv..r ; 
 
 Full many a flower is born to \Au(\\ iinllen, 
 Andw':iftc its f\veetnef» cm the Jj'crt air. 
 
 The api)l.'iik- of liftening l"n:.tcs toc«;:nnnn.?, 
 'Fhe tlircats of pain and ruin to difpilf, 
 
 To fcaltcr plenty o'er a nnilin^ laru!, 
 AnJ read their hillory in a nation's ey(.«. 
 
 Their lot foih.id j i.or circun'.fc-ib'J alor.e, 
 
 Their grov. inj \ im:cs,bir. z'rx.r v:ri:ncsronf:f.\:, 
 
 Forbad to waJi- tl;r(»ii^:h flaii^'htt-r to.i tliror.j^, 
 And iliuc liie /atc.> of n:ercy on m^r.ivirv?. 
 
 But who, even for the fake of regula- 
 rity, could admit fuch an alteration ? 
 who rr-iild hear to lofc the recollcdion 
 of fuch national and interelling exam- 
 ples, the recolle<!^ion of a Ilainndcn, a 
 Milton, and a Cromwell ? 
 
 The
 
 CRITICAL ESSAYS. 213 
 
 The Periodical Writer before-mention- 
 ed. Teems to have perceived that this 
 part of the Elegy was in fome manner 
 defe(5live ; but not iindcrilanding it fully, 
 he has accufed it of faults with which it 
 is not chargeable : * The author,* fays 
 he, * in the very moment that lie intend- 
 
 * ed to lafh Cromwell with the greatell 
 
 * fevcritv, introduces him in the fame 
 
 * company with Hampden and Milton, 
 
 * the obje(fls of his highcA admiration ; 
 
 * and laments, in the fame introduvflory 
 ' palllitje, that 
 
 Cijill pcnii: V ujiicf^'J Ills noWc rage. 
 And fro/c- t!:c .:cni;.l current of his fou], 
 
 * It is odd,* continues he, * that a fiolf/c 
 
 * rage lliould ever be a 7!n7/jf one,* 
 
 This is mifreprefcntatlon; the Critic has 
 
 nude the nonfenfe v.hich he cenfures. 
 
 The pafi*agc, which he juiljy terms ///- 
 
 trcduclory^ occurs before any mention Is 
 
 O ^ made
 
 214 CRITICAL ESSAYS. 
 
 made of Hampden, Milton, or Crom- 
 well : it refers only to the Pealunts, 
 who arc fuppofcd to have poireired pow- 
 ers equal to the powers of thofc cele- 
 brated tharaclers, but without op- 
 portunity of expanding them into 
 a(5tion, Hampden, Milton, and Crom- 
 well arc, it is true, introduced in com- 
 pany, not as common objcdls of praife, 
 but as common pofleirors ot the ;;;/'/c' 
 m^e which had been mentioned, a neu- 
 tral cx'prefilon, by wliieh I undcrll.uui 
 no moral quality, either good or evil, 
 but merely that r;V/:/<7 r/V <:/;.v/;/, which 
 capacitates for great adions, v.hether 
 virtuous or vicious in their cwn nature. 
 Witli the fame erroneous idea, he pro- 
 ceeds to the context, * T/v i^ppliiujc of 
 
 * lijlt'Jiing fcniitcsy iJ'c' * Here,' fays lie, 
 
 * Cromwell is allowed his iliarc of vir- 
 
 * tuc, as well as Hampden and Milton ; 
 
 * and they, in the pronoun plural /Zv/r, 
 
 * are dragged in for their ihare of vices, 
 
 * as well as the celebrated ufurper.' 
 
 But
 
 CRITICAL ESSAYS. 215 
 
 But tlic pronoun plural tbclr relates nei- 
 tlier to Hampden, nor Milton, nor 
 Cromwell, hut to two clafTcs of ruf- 
 tlcks, who, if circumflances had fa- 
 voured the exertion of their ahilities 
 when livincr. mii'ht cither have henc- 
 fited or injured their fellow creatures : 
 fuch of them as had virtue in their re- 
 ftrided fphcre, would only have heen 
 more confpicuoufly good ; fuch of them 
 as had vice, would only have been pre- 
 eminently wicked.^- 
 
 This pafTage has heen fuflicienlly con- 
 fidercd, with regard to its fenfe ; fomc 
 attention fecms now due to its expref- 
 fion: 
 
 To fcattcr plcjity oVr a fmiling 1 iiul, 
 And rcp.J their hillcjry in a nation's t yc-;. 
 
 • Thii Writer's obje.S\:on 5 may fccm unncccn"arily at- 
 tended to; but as hij Ffl'iV is the only profclTcd Criii- 
 cifm on Gray's Elc^y, it fccmrd to rccjuirc fomc no- 
 tice. 
 
 O 4 Poetical
 
 2i6 CRITICAL ESSAYS. 
 
 Poetical holdncfi^, carried to its utmort: 
 claflical limit, is inll.inccd in thcfc lines. 
 Sonie of the images arc fo uncertainly 
 marked, that we fcnrcely know whether 
 they were intended for natural objcds or 
 allegorical perfonages. * Plentyy indeed, 
 which is very often pcrfonit'ed, cannot 
 pollihly be fo here; for the circumflance 
 of being '^ fcatttrcd^ precludes the idea 
 of a perfon, and fixes the meaning to 
 the avftual produce of cultivation. The 
 • hnd* from the application of tlic epi- 
 thet * Jnulhy^y may be regarded as a 
 pcrfonihcation, but perhaps nothing 
 more was redly defigned, than the mere 
 extent of the country ; wliieh when rc- 
 plcnillied with tloweis, fruits, and corn, 
 is frequently fiid to J'mUc. The next 
 line, * yln.i read their hilhry^ &c.' ranks 
 in a flill more doubtful predicament. 
 \Vc arc at a lofs to determine, whether 
 wc are to underftand by the word * //.;- 
 ' tioriy' the croud of individuals, the real 
 people at large, in propria f^crjonay or the 
 fame fubjeift confidercd in the aggregate, 
 
 as
 
 CRITICAL ESSAYS. 217 
 
 a? comprehended in one fuMlinc imagi- 
 nary cxiflence. The firft idea undoubt- 
 edly occurred firil to the poet, and 
 niiL;ht produce the llcond, which was 
 probably what he ine;'.iit to convey to 
 tlie re.uicr. The metaphor in this line, 
 • JlfiJ tiihi their I'ljlory-y -^r.* though 
 confidcrably removed from limplicity, 
 does not leem to violate propriety : 
 the emotiv)ns of the mind are, it is 
 well known, vifible to a certain de- 
 gree \\\ the countenance; arid by a 
 long cAahlilhed nvnlc of Ipcech, which 
 exchanges a geniral for a fpccifick term, 
 inftead of faying we pcrcche, we fny 
 we nv/(/them. The Autlior then had not 
 palled the bounds of cuAom, in fiippo- 
 fmg of patriots or heroe>, that they read 
 admiration or reverence in the eyes of a 
 nation; but he goes further, and, by a 
 metonymy of cfl'edl for caufe, fuppofcs 
 that they read thrre, the hiflory of thofo 
 adions, for which they arc admired 
 or revered. To illuflrate his fenti- 
 inent by example, were t.\()' ; tlij late 
 
 Duke
 
 2i8 CRITICAL ESSAYS. 
 
 Duke of Cumberland, after the battle 
 of Cullodci), and the late Earl of Cha- 
 tham at the clofe of the war, 1763, muft 
 have been beheld with fuch obvious gra- 
 titude, that they might be faid to * rctiJ 
 * their bijlory in a nation s eyes.' 
 
 Jt is wortliy obfervatlon, that the cir- 
 cumftancc which Gray has thus digni- 
 fied, and reprcfcnted as glorious and 
 enviable. Pope has dcgfadcii, and en- 
 deavoured to render an obJccTl of con- 
 tempt : 
 
 One ftll-approv ill ; hv.ir wh'»!c V'.-.us oiu\vcij;,li^, 
 Of lluJin! llarcr>, aiij of l<mJ liu/./-.i'>. 
 
 Cray's cxprefTion, it may be faid, in- 
 volves the whole publick ; the moft re- 
 fpe(flable part of it the opulent and in- 
 telligent, as well as the vulgar j Pope 
 alludes only to the latter. But that 
 Pope's fentiments of popularity, even 
 with the higher ranks of mankind, were 
 
 not
 
 CRITICAL ESSAYS. 219 
 
 not very favourable, Ms Efi'iy on Man, 
 in another place, fulliciently clcmon- 
 Aratcs : 
 
 And more true joy Maiccllus cxilM LcU^ 
 Than Cal'ai with a Rnafc at L-s fuuls. 
 
 The people of all clafTes arc in- 
 deed Co variable in their opinions, fo 
 prompt extravagantly to appl.uul, and 
 capricioufly to eenfure, that a popular 
 man may fairly conlider his reputation 
 as a cloud before the wind, perpetually 
 varying its form, now increaling, now 
 diininiiliing, and at length dilpcrfed 
 in air. 
 
 ForbnJ to wailc thr(;nj;h Hauglitcr tn a tLionc, 
 And lint ihc ga"c:> of merry on ir..'.nkinJ. 
 
 The imac^c of wad in g: throuj»h l.lood, has 
 no great claim to novelty; but it is intro- 
 duced with dignity and propriety. There 
 is fullicicnt analogy betucen him wlio 
 iliuuld literally wade through blood to a 
 
 throne.
 
 220 CRITICAL ESSAYS. 
 
 throne confidercd as a local eminence; and 
 him by whofc command blood is Hied, in 
 order for his obtainmcnt of political fu- 
 pcriority. The image in the next line is 
 equally grand and appolitc ; a tyrant's 
 inrtexibility, could not, perhaps, have 
 been dcfcribed \\ Itli more force, than bv 
 faying he * JJ.ut the gates of mercy en man- 
 « kind: 
 
 Or hc.ip the nirinc of Luxury auJ PriJ.-," 
 Widi inccnfc kimilcd iU tir.- Muib's flame. 
 
 The metaphors here arc common, but 
 they are not unplealingly applied. The 
 « Mujcs fame kinJ'es incenf ;' that is. 
 Poetical genius ofiers flattery at the fhrinc 
 of Luxury and Pride. Shrhie, by a 
 bold licentia poeticdy h here fubrtituted 
 for altar. Dr. John Ton defines a ihrine, 
 * a cafe in '■jehicb fme thing ficred is repo- 
 ' fiteJ i a Hirine confequently cannot 
 properly be faid to be heaped at all, 
 ^nd muchlefs properly withinccnfc; an 
 
 altar
 
 CRITICAL ESSAYS. 221 
 
 altar Is the place appropriated to that mate- 
 rial.* Tlie Mufc's flanic here mention- 
 ed, has not, however, very often kiml- 
 Icd the incenfc whieh has heaped tlie al- 
 tars of I.n.vurv and Pride; Poetrv has had 
 little concern \\ itii tlie volumes of rhym- 
 ing praife that have iilued from the pref ; 
 Dryden's atiiil.itciry pieces, fome of them 
 at leaf}, excepted. Mafon, in one of his 
 Kle;^ies, hn - f.r.jly chara»fler!:;eii that Au- 
 thor, and v.iih a n;wt.iplior lefs com- 
 mon and more bei'itiiul liian Ci ray's, 
 has reprefented him a> crowning the 
 fuhje*!ts of his applaufe with jewels: 
 
 If Porn ;li!ou^h f;"(.:iJfIiij> f.iil\!, imll^riant view, 
 Ytt pity I)r V')i s ; h.iik, wlurcVr he firi. s, 
 
 I low ;iJu!.i;!fM; i!r. ^i Kcr cutirtlv titw 
 On ti'.!(..'. r!.\:iK.'5 and iiiL;liirioi;s kiii^s. 
 
 Stv iVf :n ih. c.j>:;i> ci his cxhauftlt.!'. niiric. 
 His rliitcri.1^ lloicf the tuixNil fj^iuiitliiift 
 throw--, 
 
 • With nur ninor Poet's and Pootcffci, ihr words y'.i'.e, 
 Jhrmt, fibivy he. arc perpetually in ufc, anj arc as 
 ptrpctuaHy inlljpplicd and confounded hy thcui. 
 
 As
 
 222 CRITICAL ESSAYS. 
 
 As fc.iror iiitcrcfl liJ";, bcholJ thcyfhrinc. 
 Now JieLaCRoMw ell's, now a Charles's 
 
 blO'AS. 
 
 Eltcy to a Youjic Noblfman. 
 
 V. 73. Far from the ir.a !t!::^^ crowd's IgtK.blc ftrifc. 
 Their fi'bt.r WiPi.ts never Icarn'd to ftray j 
 Aloii^ tlu-t«K.)! (Itjuvncr'd vale of life. 
 
 They kc-p: the rvdf.kf^ tenor of their way. 
 
 To a rcaticr, wlio docs not think while 
 he reads, there is an ambiguity in this 
 pafTagc, which mny Lnd to a llnfc con- 
 trary to the real one. The author Tup- 
 pofes, that his peafants were fituated re- 
 mote from the * croud's igrioblc fir'ifc* 
 and that their wKhes never ilrayeJ to- 
 wards it. Tlie pronoun perfonal, * TZ'.j,' 
 with which far tlie adverb of fituation 
 fliould haveconne(5ted, being not cxpref- 
 fcd, but only underilood, that adverb 
 may be erroneoufly combined with 
 v:Jjl:cs^ and of courfe it may be ab- 
 furdly thought, that the ruftick's de- 
 fires, inftead of never extending to tlic 
 
 tumult
 
 CRITICAL ESSAYS. 223 
 
 tumult of publick life, had never ex- 
 tended beyond it. There is licre alio a 
 triHing incongruity of fentinicnt ; tlut 
 ardour of adion which h.id before been 
 pointed out as gUrryus^ is here inad- 
 vertently termed ignobk. The two bill 
 lines of the ILujzj, ' Ahng the coJ, 
 * cfr.' arc a kind cf obfcurc or indi- 
 ree't allufion, ur finiilc : — the per Ions 
 in queflion, A/J their quiet even courjl' 
 through the ii-orlJ, like a filent Jlream 
 through a cool and folitary valley. 
 The idea of the peafants being content- 
 ed with their fituaiion, is poetically 
 plcafing, but not jufi. There is pcrhapij 
 no clafs of men, on the whole, more 
 dilTatisfied with its condition, or whofc 
 willies are more perpetually Graying to 
 the condition of others, than this. The 
 gentleman, the clergyman, the opulent 
 farmer, and the tradefman, arc the con- 
 flant objeifts of the ruftick's envy ; fuch, 
 alas, is unhappy human nature ! 
 
 V.77.
 
 224 CRITICAL ESSAYS. 
 
 V. 77. Yet cv'n thcfc bones from infult to prv^tcJl, 
 Some frail memorial Hill crcifleJ ni^h, 
 With uncouth rliynie anJ fliapelefs fculptmo 
 deck'd, 
 Implores tlie paflin^ tribute of j figh. 
 
 Their name, their )tar>, fpclt by;h' un^etttrM 
 Mule, 
 
 The place of fame niul elc^yfupply ; 
 Ant! manya!-.o!y tcMarounJ Pie flrc\v>, 
 
 That teach the ruftick. iiiorJUl todic- 
 
 For who, to dumb For^ctfuincfs a prcv, 
 This plv-afing r.nxlous being e'er refiLrnM ; 
 
 Left the warm prcci;icl<; of the chcarful day, 
 Nor caft one longing ling'ring look behind r 
 
 On fomc fond brcail the parting fj'd relics. 
 Some pious dti>p«; the clofuig eye requires ; 
 
 y.v'n from the tomb ihe \oiccor nature cries, 
 Ev'n incura/hes li\ctl)eir w'untcd fire;*. 
 
 The great merit of a poet is not, like 
 Cowley, Donne, and Dcnliam, tu fay 
 what no man but hinifclf has thought, 
 but what every man but himllrlf ha^ 
 thought, but no man exprclfed, or at 
 leaft cxprcffcd fo well. Dr. Johnfon 
 
 has,
 
 CRITICAL ESSAYS. 225 
 
 has, with great jufticc, allowed the ori- 
 ginality of the above ftanzas ; * I have 
 
 * never,' fays he, * fccn the notions in 
 
 * any other place; yet he that reads 
 
 * them here, perfuades himfelf that he 
 
 * has always felt them.' 
 
 The general fight of a Cemetery, 
 naturally afleds the mind with an un- 
 mixed and painful melancholy; it pro- 
 duces gloomy rctleclioiis on tlie end of 
 all things, regret for others, or appre- 
 henfion for ourfclves ; but the Unlettered 
 Mufe, with her little narratives, often 
 introduces other ideas ; her language is 
 fometimes fo abfurd, that in a lefs feri- 
 ous fituation, it would excite rifibih'ty; 
 and her tale is fometimes Co patlietically 
 circumHantial, that it awakens all our 
 tendernefs. 
 
 Nothing can be more noble, nothing 
 
 can be more beautiful, and yet nothing 
 
 P more
 
 226 CRITICAL ESSAYS. 
 
 more fimplc r.nd inttllii^iblc, than the 
 firll tlircc (lanzas of the above quotation, 
 
 • Tet rSn tbcjc bones y C^c' and they 
 are fo corred, that they have not an 
 tpithet but \vhat adds force to the fenfe, 
 nor a rliynie tliat obfcures or weakens 
 it. The fourth ftanza, ' 0)i f.mc fond 
 
 • brciijl, d'.' at leart the latter part 
 of it, is not quite perfpicuous. When 
 the Poet tells us that the parting 
 foul, or expiring perfon, relies on fonie 
 fond bread, fome afie<5lionate relative, 
 wc underlland that it fo relies for com- 
 memoration ; but what is intended by 
 thefe lines feems rather doubtful : 
 
 Kv'n from l'.c t<»ni'> the voice of ii.;turc cric^, 
 Ev'n in our aflit^ live thvir wonttJ fires. 
 
 The ancients, it is well known, were 
 anxious, to an extreme, for funeral ho- 
 nours : they even fuppofed that the fpi- 
 rits of the deceafed could not refl, till 
 the rites offepulture were performed,* 
 
 • See this opinion finely exemplified in the llory of 
 
 Pau-ocluj, Jljaj, Book 23. 
 
 Perhaps
 
 CRITICAL ESSAYS. 227 
 
 Perhaps our author, with the licence of 
 a poet, here adopts this clulical opinion. 
 If this was not his idea, it is ditliciilt to 
 fay wliat could he. * The loicc of Na^ 
 * turCy* in tlic hofoms of the living, might 
 indeed, be faid to cry, or call for fuch 
 tokens of regard to the dead, as we ima- 
 gine may be acceptable to them ; but this 
 ic{\(c it i^ evident was not intended here, 
 for if it was, the voice of nature could 
 not be faid to cry * from the tcmbS 
 
 Antiquity held anotlier dodrine, which • 
 alfo feems here to be alluded to, viz. thai, 
 after death, the foul retained its ufual 
 paffions and afledions, and confequent- 
 ly miglit look to the ol^jects of thefc 
 paffions or aft'eclions for proofs of their 
 tender remembrance. Mr. Mafon, who 
 allows the palfage to be obfcure, thinks 
 this to be the meaning. * JIc meant to 
 
 * fay,' fays he (fpeaking of the poet) * that 
 
 * ue wilh to be remembered bv our 
 
 • A poeiical plirafc for the diclatcj of natural afrcwlIon% 
 
 P 2 * friends
 
 128 CRITICAL ESSAYS. 
 
 * friends r.ftcr our tlcatli, in the fame 
 
 * manner, as, when alive, \vc widicd to 
 
 * be remembered by them in our ab- 
 
 * fence.* 
 
 The above-mentioned ingenious Writer 
 has given two variations of the lad 
 line, one as it Aood in tlic firrt; edition, 
 and one of his own propofing : 
 
 Awake, and faitliful to her wontcJ fircs. — 
 Awake, and faithful ti> her firft titfircs. — 
 
 Thefe alterations, however, feem not to 
 render the fenfc much clearer; the lall 
 is indeed the fimplen:, beccufe it drops 
 the metaphor. 
 
 Ev'n in our aflics live their wontcJ f.rcs. 
 
 This line, which is an avowed imita- 
 tion of Petrarch,* inculcates the idea 
 of a poflhumous connexion of the intel- 
 ledual and corporeal part of man; the 
 
 • Son. 169. 
 
 fpirit
 
 CRITICAL ESSAYS. 229 
 
 fpirlt is fuppofcd to be fomc how com- 
 bined with, or conccilcd under, the 
 duft, like hrc in embers. Dr. Young, 
 in a vcrfe, which, from his aukwnrd in- 
 trodu<f\ion of the xcvhjhimhcrst has puz- 
 zled many a juvenile reader, feems to 
 reprobate this idea : 
 
 Why tht-n th.ii lofs Jqilorc, that arc not l<ifl ? 
 Why wuiiilcrs vvrctchcl tliou^lit their tuiiibj 
 
 arounJ, 
 III infiJvl diftuTs ? Arc an^tls t'urc ? 
 S!unibcr>,' iuk\1\\\^ in liufl, ;rthercal fiic ? 
 
 V. 03. For thcc, who niiiulu:! of th' uiihonoMr'J dc.iJ, 
 Duft in thcl'c lino tiicir ardcl"-. talc relate j • 
 If chance, by lonely contemplation lei!, 
 Some kinJreJ fpirit niay inciuire thy fate, 
 
 • Thii verb, by being ufeJ in the lingular at the 
 opening of tlie line, fo refcniblc. the noun plural, that, 
 without attention to thv note of interrogation, we might 
 tnirtake anJ make the line nnriftiifc. The ufe of the 
 auxiliary can, would dcllroy the amiiiguity, render the 
 culinary term rai'J, unnecclfary, and improve the me- 
 lody of the line : 
 
 Can fire* xthcrcal flumber in the dull* 
 
 P 3 Haply,
 
 13© CRITICAL ESSAYS. 
 
 Haply, fume hnary-hc.ulcJ (w^.\•^ may fay ; 
 
 * Oft h.nc wc fccnhim at the peep of Jawn, 
 
 * Bnifliin^ wjih hafly flc])^ the dews away, 
 
 * To niccl the fun up -n the upland lawn.* 
 
 * There at the f«>-ot of yoiKkr ncHKlin^; beech, 
 
 * Th.:t wrca:l:cs its old fnuadic n^.ts fo 
 
 * hi^h, 
 
 * His linicfs length at ncK'ntidc would !ic 
 
 * ftrttch, 
 
 * And pore upon the I'rook Uiat lv.M)lc>by.' 
 
 * Hard by yun v.cy^il, r/nv fmillnj: 3« in feorii, 
 
 * Muttcrii;^ his w.;y\vard f..:icics he v.')i:lJ 
 
 * ro. t i 
 
 * Now drooping. Woeful, w.::;, l.l.c ojic fv>i- 
 
 * lorn, 
 
 * Or cri.7.'d with ere, vi crofs'd iii h<'p.-- 
 
 * !eG love.* 
 
 Gray, in one of his letters, perhaps too 
 precipitately, afierts, that defcriptlon 
 (by which he douhtlels merait defcription 
 of rural fcenery) never ought to make 
 the fubjed of poetry; but he admits it 
 to be its n^oft gr.xeful ornament; and 
 both at the beginning, and towards tlic 
 clofe of tliis beautiful Elegy, has mod 
 
 advantage-
 
 CRITICAL ESSAYS. 231 
 
 ndvantngcoufly availed hinifclf of it. 
 Thofc Critick?, who have denied this 
 Poem the merit of a general plan, have 
 miftakcn general plan for proper difpo- 
 fition of particular parts ; the former, 
 as has been flicwn, it really pclTclTes ; in 
 the latter, I have already noticed a defi- 
 ciency. Here is another inllance, where- 
 in a fimple tranfpofition woiiKI, at lead 
 in my Oj^iriion, produce a very confider- 
 able improvement. The Puet'> morning 
 perambulation i> narrated i:\ this llinza, 
 * Hnply, Jbmc Lzary-bciulcd fiLiiin^ eft.' 
 Jiis noontide rej^^ofe is defcrihed in the 
 next, and he is introduced in the hfl, 
 thou^rh without fiKcihcation of time, re- 
 fumincT his walk a''ain. Had the firll 
 
 o o 
 
 and third llanz.is been broiiL^ht toge- 
 ther, the unity of acli(;n v/oiild have been 
 preferved uninterru|'ted ; the morning 
 wanderings would have been con neeted 
 in one point of view, and the noon-day 
 reft have naturally followed them ; for 
 inllance : 
 
 I' 4 ' ^W).
 
 232 CRITICAL ESSAYS. 
 
 * Haply, f(jrr.c h''iar\-hfaJcJ fwnin nuy ftv; 
 
 * Oft have wc fttn him at the pttp of dawn, 
 
 * Brufhing with l;afty f}cJ)^ the <Jiw> awav, 
 
 * To meet the fun ijjx):\ die upI.mJ I.iv.n.' 
 
 • Hard hy ynn wood, now fmilin^ a> in fconi, 
 
 * Muttering his wa\ ward f.iiieics he would 
 
 • ri'vc ; 
 
 * Now dr(K»ji;n^', wocfid, wan, lilcc one forlorn, 
 
 * Or craz'd with care, or crof-,'d in h-jxlefs 
 
 ♦ love* 
 
 • There at the foot of vondcr nrnldin'^ hccch, 
 
 * That wreathes its eld fi nt ail ic roots f'>hi'_'h, 
 
 • His liOLfi length at n-ontide would he fl retell, 
 
 * And jx>re uj-xin the bro(>l< iliut bahMes by.* 
 
 Thcfc Oanzas !iavc great nuilt. The ra- 
 pid tranfition«^ of thtnight in tlic miiul of 
 a poet, as indicated in e.\t.:nal aelion, 
 arc painted in the moll lively manner. 
 The rural imagery has an air of novelty ; 
 and the heach, with its old fantallic'-: 
 roots, hanging over the rill, is a com- 
 plete pivf^ure. Mr. M.ilbn obferves of 
 the language in thi> part, th it it has a 
 dorick delicacy. It ha.^, indeed, what I 
 iliould rather term a Iiappy rullicity, un- 
 
 dcgraded
 
 CRITICAL ESSAYS. 233 
 
 dci^ratlcd by mcanncfs: from fuch a clia- 
 radcr as is rcprefcntcil fpcnking, * a bo.iry- 
 
 * bcaiiiilficdii:,' one HioiiKl rcMlonahly cx- 
 ped fuch plirafcs a>; tlicfc, * ILini by yon 
 
 * "iVQoJf C>f.' * ivayii'ard fiincici* * 'uotjul 
 
 * iviifi,'* one forhrHy * cra::\i ivitb care, 
 
 * crcjs'j ii:itb ioi'e, i^c' 
 
 The fame Gcntlcmiin has favourcil us 
 with a rtanza, which, in Cj'r.iy's M.S. 
 immediately fucceeded the above, and 
 whicli he rather womlers the Poet lliould 
 have fupprelfcd, as it wouhl liave com- 
 pleted the account of his whole day, 
 whereas evening is now omitted : 
 
 Hiin h.ivc wv.- fccn tlu* j:iv.cu-v.<)()J fi 'c jIohj, 
 Whilt; o'er thi hcatfj wchicd onrl.:bour tJonc; 
 
 Ol't ai :h'j w«.oJl.;rk />//>''/ her f.ircwcll fjii^. 
 With w:!!t'ul cyts puifuc the felting fun. 
 
 The ftanza, confidcred in itfelf, is not a 
 bad one; but Gray was right in fiip- 
 prefnng it, and I think it is cafy to con- 
 iedure fome of the rcafons for its lup- 
 
 prellion.
 
 234 CRITICAL ESSAYS. 
 
 prcfilon. The Poet's evening had been 
 defcrihcd before, at the opening of the 
 Poem ; to have deferibcd it again, 
 would have been fnpcrfluous, and an 
 inftancc of that difgufting redundance, 
 \vhich is Aire to create confufion, and 
 which we always meet with in the 
 works ofconinion writers. Divcrfity of 
 fituation alfo is wanting; we had the 
 liccj before, * ILirJ by yon ivood ,' and 
 now we have it again, * Tic grccn-ivoijd 
 * JiiiC alongy (^c* 1 here is, indeed, a 
 kind of contraft, or antithchs, between 
 the idea in one of the former flanzas, of 
 the poet going out to mcvt the fun at its 
 rife, and the idea in this llanza, of his 
 viewing it with wiAful or regretful eyes 
 when fetting i but this contrafl, as it is 
 here managed, does not pleafe ; the 
 mention of the fun by name twice, at 
 lead in its prefent pofition, has too much 
 famenefs to be agreeable. 
 
 V.ICg.Onc morn I mif>'dhimon thc'ccuftom'd hill, 
 Along the hathy and nvar his L\ ouritc l-cc ; 
 
 Another
 
 CRITICAL ESSAYS. 235 
 
 Another came ; nor y- 1 bciulc the rill. 
 
 Nor up the /(/U'/j r.cr a: the tc-;./ w.i< lie. 
 
 The foregoing ftanzj.s, p. 230, * -/A-'/'/v, 
 
 * fomc boary-bcihlt'il J'u-.iin^ -oc-.' contain 
 fubjc^f^s whicli ought to have hcen regu- 
 larly and dKHndly reeapitulatcil or eon- 
 trafled in this concUifion. Tliis how- 
 ever is not the cafe. Tlie * upIanJ laivn,* 
 in the firlt ftanza, and the * nodiUng 
 
 * beech \ and the * hrG'jk^' in the fecond, 
 are well enough oppoled hy the * cujl'j,nd 
 
 * billy tlie ^ J'irc'jiuUc tri'Cy ami the *////,' 
 in the tirft, fecoiul, and third lines here; 
 but the '//icv;,' to wliieh '' cujUjnid hill,' 
 had already correfpondeil, is now redmi- 
 danliy introduced again hy it^ own appel- 
 lation, and the * ivoody which would iinvc 
 been more confiftently exprefild by Ionic 
 iynonynious term, is likewifc limply 
 mentioned by name. The * heathy' is a 
 new and fupertluous image. Thefe it 
 may be faid are trifles, fcarcely worth 
 notice ; but if fuch trilles were nu^rc 
 regarded, compolition would make 
 
 nc.;icr
 
 236 CRITICAL ESSAYS. 
 
 nearer approaches 10 pcrfetflion. The 
 following arr.ini^ement is ruf>inittcd to 
 the Reader merely as explanatory of my 
 own ideas : 
 
 ILply, Otnv.- hoary-h'-;MlcJ fwain m?.y f.:y; 
 
 C)u have wc fccn him at the jx-cp of J;i\v:i, 
 BrufliiPL^ with lulJy ficps t!ic- dews awav, 
 
 To meet the fun ui^m the uf/.'jud lunn : 
 
 Hard by yon iva/fy now fmilin^ a-i in fcorn, 
 Mutt'ring his wayward fancies he would rove; 
 
 Now dr(M>pinL', w<x fid, w..ti, like one forlorn. 
 Or cra/.'d with cate, <>r crofj'd in l-.op.lcfs love. 
 
 Therc^ntthefiKit ofi^-.^r r.rJ.I-Kg /■<•<;:/•, 
 
 That wrcathe> it^ old r.int..(lie root^ ff> hi j;h ; 
 
 His liHIcfi len/tl) at noontiilc wi.uld he firctch, 
 At»d jx'ic upon tlie lr::k that hahMe-^ by. 
 
 One morn 1 mif>»'d him on the i.'//;".*-//-//', 
 Aloni; the <"5/>/^v ^f'*'' ^^^^ \\Ufr;:'::^n't,-ir,ei 
 
 There came another, and af.other ftill ; 
 Nor at the ^r;tv, nor by the ri!i\ was he. 
 
 The firft half of tlie lafl flanza, has here a 
 proper relation to all the preceding oh- 
 jc(5ls, except the brc-jk; the * upLind laii'n,' 
 is contrafted hy the */'///,' the * ^^-ood' hy 
 the 'r^/yT'/and the * beach' by the * tree:' 
 
 the
 
 CRITICAL ESSAYS. 237 
 
 the fcccnd half introduces only the 'u;o:J, 
 under the appellation of grove ; and for 
 the firft time, contrails the l>rooi by the 
 denomination of n'//. Tliefe variations, 
 however, do not obtain all the regularity 
 that might be wifhed for ; but perhaps 
 they have as much as could be obtained in 
 the fiime compafs. The third line, *Thcrc 
 came another^ oo' fome may think 
 rather injured in Arength and fwcetnefs 
 by the alteration. 
 
 V. 1 13. The iKXt, with dirges i!iic in f.iJ array. 
 
 Slow through the church-way path wcfaw 
 him home. 
 Approach, and read, (for tJiou caiift read) 
 the lay, 
 Grav'd on the fior.c beneath that aged thorn. 
 
 I once heard it obferved by a very ingeni- 
 ous Gentleman, that in Spenfer's Fairy 
 Queen, and Fairfax's Tallb, may be 
 found almoH: every modern melody, 
 every pleafing difpofition of wurd^ in 
 ufe with the poets of the prefent day. 
 
 This
 
 238 CRITICAL ESSAYS. 
 
 This is certain, tli.it in diflcrent aiitliors, 
 \vc often rncct with the fame turns of 
 cxprcfiion, whicli nevertheless is no 
 proof of imitation. The fentiment in 
 this line, * y^pproacb and read' {for thou 
 canjl reiui) * the lay,* undoubtedly pro- 
 duced thv words, without adverhon to 
 the lan^uacjc of any preceding writer ; 
 for to convey it in words more natural, 
 is not polnble : yet fome may imagine 
 they have found its prototype in this 
 of Dr. Young ; 
 
 An J ft».-.\! (for you can fi-j..!" ct'ifti.il \\i^z. 
 
 In fome of the early editions of the 
 Elegy, after the llanza lall quoted, the 
 following was infer ted : 
 
 Thcrr, fL.iltcr'J eft the cnrlicfl of the year, 
 r»y hands unfccn arc//.3:c<v; of vi^uti founil ; 
 
 T he rtd brcafl lo'. c> to biiikl and warble there, 
 And little footlKpNliiihtly pri;:t the ground. 
 
 Mr. Mafon, who thinks thcfe lines very 
 fine, neverthelefs thinks they were very 
 
 properly
 
 CRITICAL ESSAYS. 239 
 
 properly omitted, bccaulc they made the 
 parcnthelis too long. They had, in- 
 deed, this had edict ; hut tiiere were, 
 I think, other caufes for their rejec- 
 tion. The preceding ftanza, * The next 
 * 'iL'ith dirgesy G*t .' and this, arc totally 
 different in tharacfterj that is ferious, 
 this is trifling ; tlut deals in real i'uft, 
 this in puerile fancies : the addition was 
 like that of a Chinefe roof to a 
 Tufcan column. Thefe corrcdions of 
 Gray's, together with many hints 
 in his letters, have convinced me that 
 his poetical powers, however great, 
 were not fuperior to his critical (kill. 
 
 K P I T A P H. 
 
 litre r(.n.< hi> IicaJ uj>oii the lap of earth,* 
 A }outh, to fortune, anJ to Kuiu-, uiikncwn. 
 
 Fair ScivMLC froun'J r.ot on his hiiiiiM; birth, 
 AiiJ Mtl.inchclv niark'd him lor litr own. 
 
 Lar^c u'.is hi^ bounty, and hi> foul Hnccrc ; 
 Htav'n did a rccom^Kiicc as lar^^cly kiiJ : 
 
 • How glad vvijulil lay nic down. 
 
 As in my mothir's lap. 
 
 Paradifc Lort, U. i;*, p. 777. 
 He
 
 240 CRITICAL ESSAYS. 
 
 He jjavc to mlfit y, all he ha*!, a tear ; 
 
 lie gain'J from hcav'n ('twas all he wifh'J) a 
 friend. 
 
 No farther feck hl-»- mcrit'^to difclofe. 
 
 Or draw hi> frailties from their dread abode ; 
 
 (There thi-y alike in tremblin;^ ho}\r repofc) 
 The iKifom of his f.ithcr, and hi^ God. 
 
 Rcrpc(fllng this Epitaph, of the two firfl 
 ftanzas, little need be laid; they arc 
 both correifl; the firft is elegant and 
 fin^plc, the fccond is not totally clear of 
 affc(flation. The turn of wit, by which 
 the poet's * large bounty 'm difcovercd to 
 be only a ^ tear* and his ^ rccompciicc is 
 found in ^ fricrJjh'ip* is certainly unc.v- 
 pe^fled, and perhaps too refined for the 
 occafion. To the third ftanza, the Mi- 
 nor Critick, before quoted, ftrongly ob- 
 je«5\s. ** If it has any meaning," fays he, 
 ** it can mean nothing but this," " that 
 •* it is improper to examine the merits 
 *' or frailties of the perfon deceafed, 
 ** fince they are both alike rcpofed in 
 
 *« one
 
 CRITICAL ESSAYS. 241 
 
 " one dread abode, the bofoin of his 
 ** father and his God," * This is the 
 
 * firft time,' continues he, * I ever heard 
 
 * of a human creature inakini? tlic bo- 
 
 * fom of his deity a repofitory for liis 
 
 * errors ; and in the prefent cafe, I 
 
 * think tlic fault more incxcurible, be- 
 
 * caufe the violence offered to reafon and 
 
 * religion, has no way alii fled the poe- 
 
 * try, this being perhaps as lame a paf- 
 
 * fage as any in the whole piece.'* This 
 f«:vere ccnfure is unmerited : univerfal 
 cuilom his cllabliihed and authorized 
 the fubllitution, however violent .or 
 awkward, of boj'om for vi'uui \ and 
 taking the word in that (^z\\(^:^ the 
 paHage is dcfcnlible, ami intends no 
 more than this : ** That the merits and 
 ** defects of the party in queftioii 
 *' were known to his maker, which was 
 ** fiillicicnt." What violence is here 
 committed, either againd reafon or re- 
 
 • The Baelfr, vol. i- p. 241. 
 
 Q^ ligion.
 
 242 CRITICAL ESSAYS. 
 
 ligion, it is not cafy to difcovcr. That 
 the lines convey no new int'ormation j 
 that they tell nothing but what every 
 man muft know, is indeed evident ; 
 and that, confidered as poetry, they 
 have no very confpicuous excellence, is 
 certain. 
 
 The attention that has been paid to 
 this Elegy, however j)articular, will not, 
 it is hoped, be tlioiight tedious or fupcr- 
 fluous. The Poem itlelf is, perhaps, the 
 firft of the kind in any huigungc : its 
 fubjcd, like the lubject of Milton's Epic, \ 
 is ui.iverfully interfiling; the allegorical 
 imagery is fublii^ie, and the natural d'.- 
 fcription graphic.d j tlic lentimcnt is 
 moftly finiple and p:ul.etick, and the verle 
 has a melody which has not often been 
 attained, and cannot be furpafled. 
 
 Gray's Poems arc not numerous j but 
 all of them, at IcmH his ferious Pieces, * 
 
 have 
 
 • Gray's talents were iadced confined to the ferioui. 
 In the few Pieces l;e ha> given ui of a light caft, both in 
 
 prof*
 
 CRITICAL ESSAYS. 243 
 
 have great merit ; and wliocvcr writes but 
 as corred\ly as he has written, will not 
 find hinifelf able to write much: happily, 
 however, for fomc authors, it is often the 
 bulk, rather than the corrcdlncfs of pro- 
 ductions, that now confers popularity. 
 
 The Church- Yard Elegy, as Mr. Maloii 
 juftly obfcrvcs, was Gray's moll popu- 
 lar produd^ion. His two Greater Odes 
 have been accufcd of obfcurity ; but one 
 can be obfcurc to thofc only, who have 
 not read Pindar ; and the other, only to 
 thofc, who are unacquainted with the 
 hirtoryof our ov/n nation. But it is need- 
 lefs to enlarge on thefe, as ample jullice 
 has been very lately done them by my 
 friend Mr. Potter, the juilly celebrated 
 tranflator of Elchylus and Euripides.^ 
 
 There 
 
 profe and verJc, in liL Long Story, his Drowned Cat, and 
 in fome of Kis Letters, ihc humour a at bell faint, and 
 often puerile. 
 
 • 1 cannot here forbear tranfcribing a p.i/Ijge fum 
 
 Grat's works, which Mr. Maion ihink.5 w.i» proba- 
 
 0,2 biy
 
 244 CRITICAL ESSAYS. 
 
 There is mention made, in Mr. Ma- 
 fon's Edition, of an intention of fetting 
 the fecond of thefe Odes to mufick, in 
 the manner of an Oratorio ; and fome of 
 Gray's ideas on the fubjc(ft arc there 
 prefcrvcd. My knowledge of mufick is 
 but fuperficial ; but I lament that this 
 dcfign did not take place, as I think it 
 would have aft'orded an opportunity of 
 conveying whatever found can convey, 
 of the fublimeand pathetick. Dryden's 
 
 biy written, on occafion of the common preference given 
 to his r.lcgy. To the do^rinc it contains, I yield niy 
 niofl he.irty afli-nt. " The Gout dc Cnmparaifon, as 
 •* Bruvkrf ftilcs it, ii the only talk- of ordinary 
 •* orind:>. '1 he) do not know the fpccific excellency, 
 •' either of an auihur or a conipofition : for inilancc, 
 *' they do not know that Ti Bf LI L i fpokc the language 
 *• of nature and love ; that Horace faw the vanities 
 *• and folliei of mankind with the mofl penetrating 
 " eye, and touched them to the quick ; that \'iRr. it 
 •* cnnoMed even the moll common imago, by the grace? 
 •* of a glowing, melodious, and well adapted exprcf- 
 *• fion ; but they do know that Vircil was a better 
 •* Toct than Horacf, anil that HoRACF.'i Epillle^ do 
 *' not run fowcll as the Klegie* of TitLLLVi." 
 
 famou?
 
 CRITICAL ESSAYS. 245 
 
 famous pafTagc, * St'e the Furies ar'ijl\' 
 sS,Q. might perhaps be rivalled for ani- 
 mation of imagery by the concUifion of 
 the fecond llrophc. 
 
 She wolf of France^ with unrcK-ijtin.; faOj^s 
 'i'hal tcar'il the bowcU of tliy inan^l!.-.! m.uc, 
 From thee be born, w!u) o'er thy cour.tiy hangN, 
 The fcourge uf hcav'ii. W'h.it ttrrur> roiiiul him 
 
 wait ! 
 Amazement in his van, wiili flight c<»mli;n\!, 
 And forrow'> faJeJ form and fohtuJe iKhinJ. 
 
 The above Author's * Fallen! Fallen! 
 * Fallen!' might alfo pollibly have its 
 parallel for mournful melody in the 
 opening of the fecond antillrophe. 
 
 Might)- victor, might v LoiJ, 
 
 Low on his funereal Coiieh he h'c-i ! 
 
 No pitying heart, no eve alTurJ 
 
 A tear to grace his ohfequ e'^. 
 
 Is the fable warrior fled ? 
 
 Thy fon is gone. He rcfts among the dead ! — 
 
 There might likeuife be a fine tran- 
 fition from this pathetick to the exult- 
 
 Q. 3 ♦'»"^
 
 246 CRITICAL ESSAYS, 
 ant, in 
 
 Fair bughs the morn, and foft the zephir blows, &c. 
 
 But hints of this kind are unncccf- 
 fr.ry ; Oratorios, and almofl every thing 
 ch'e that is fcrious, arc now out of 
 fafhion. 
 
 I mentioned the Paper in tlie Babhlcr 
 as the only profcfi'cd Critlcifm on Gray's 
 Elegy. I have Cnce feen a pamphlet 
 intitled, ** A Criticifm on the Elegy 
 •* written in a Country Church-Y.'rd," 
 in which that Poem fecms to have 
 been examined on principles very dif- 
 fimilar to mine. 
 
 ESSAY
 
 ( 247 ) 
 
 ESSAY VIII. 
 
 On Goldsmith's Deserted 
 Village. 
 
 Til E Temple of Fame, lately creel- 
 ed under the title of The Works 
 oftheEnglini Poets, aflbrds a Ariking 
 inAance of caprice in the matter of ad- 
 milTion to literary honours. Had Criti- 
 eifm, rational impartial criticifm, kept 
 the gate of this temple, fevcral names 
 which now appear within its walls, 
 would certainly never have appeared 
 there. Hut to drop the allegory, and 
 change an imaginary edifice for a real 
 0^4 book.
 
 248 CRITICAL ESSAYS. 
 
 book, it is difficult to gucfs the rcafon 
 why that hook admitted fomc authors, 
 while others of fimilar chara(fler were 
 rcjeded. 
 
 Poet is an appellation frequently ufcd, 
 without the annexion of its precifc 
 idea ; which fecnis to be that of a per- 
 fon who combines picflurefquc imagery, 
 and interefting fentiment, and conveys 
 them in melodious and regularly meafur- 
 cd language. This is a definition, which 
 will exclude the writer of Romances, 
 and Profe Dramas, however fublimc or 
 pathetick, on the one hand ; and the mccr 
 maker of Verfcs, however humorous t»r 
 witty, on the other : were indeed the 
 claim of either to be allowed, it mull be 
 that of the former ; inafmuch as poetrv 
 muft be nearer allied to the dii/nineti 
 and elegant, than to the mean and inde- 
 licate. 
 
 The
 
 CRITICAL ESSAYS. 249 
 
 The title of Poet his been often bcftow- 
 cd on thofe who httlc defcrvcd it. The 
 name of Englilh Claflkks was furely iiU 
 mcrltcd, cither by the Wits of Charles's 
 days, that ** mob of gentlcnicii who wrote 
 with cafe," or by the heroes of tlie Diiii- 
 ciad ; their, compofitions were moftly 
 trifling, and frequently immoral, and 
 conkqucntly iinwortliy of prefervaticMi. 
 But in an Edition of poetry, where fome 
 of thcfe are to be found, we rather 
 wonder at not hndin^ the others ; where 
 Roehellerand Rofcommon, Sprat, II illi- 
 fax, Stepney, and Duke, were received, 
 why Carew, and Sedley, and Hopkins, 
 were refufed, one is puzzled to guefs ; 
 and when Pomfret and ^'alden are pre- 
 ferred to Eufden and Duck, it is not 
 eafy to account for the preference.. 
 The managers <>f tiiis celebrated Edition, 
 as their work approached the prcfcnt 
 period, lleni to have b-cn more fafli- 
 dious in their choice, and have omit- 
 ted Writers who would have done their 
 
 colledUon
 
 250 CRITICAL ESSAYS. 
 
 collc(flion no diTcrcdit.* When the 
 Publication was undertaken, Armftrong 
 and Langhornc, poets of lupcrior rank, 
 were living; their vorks, conlequcntly, 
 could not be prop riy infcrlcd ; but 
 Coldfmlth was dead, and hl^ certainly 
 had a juft clain\ to adniillion. 
 
 Goldfrnith's Deferted Village, the 
 work now under confideratlon, is a per- 
 formance of diftinguiflicd merit. The 
 general idea it inculcates is this ; that 
 commerce, by an enormous introdudion 
 of wealth, has augnKntcd the number 
 of the rich, who by cxhaufiing the pro- 
 vifion of the poor, reduce them to the 
 necelTity of emigration. This principle 
 
 • Among fuch may he reckontcl Aakon Hill, who 
 although in general a hombailick writer, produced feme 
 Pieces of merit, particularly the Ca\tat, an allegori- 
 cal fatirc on Pope: Robert Dodsley, author of 
 Cleone, a Tragedy, and a Didaftick Poem on Agricul- 
 ture, intitled Publick Virtue : G a a i n c e r , tranflator of 
 Tibullu-s and author of another Didactick, called the 
 Sugar Cane: Ca\vtho?.n, author of Abclard to 
 Eloifa, &Ci &c. 
 
 is
 
 CRITICAL ESSAYS. 251 
 
 is evemplificd in the dcfcription of Au^ 
 burn, a Country Village, once popu- 
 lous and flourifhing, afterwards defcrtcd 
 and in ruins. 
 
 Modern poetry has, in general, one 
 common defe<^t, viz. the want of pro- 
 jKT arrangement. There are many poenii, 
 whcfe component parts refemble a num- 
 ber of fine paintings, which have fume 
 connexion with each other, but are not 
 placed in any regular feries. The Dc- 
 leried Village would have pleafcd mc 
 better, if all the circuniftances relative 
 to Auburn the inhabited, had been 
 grouped in one picture; and all thofc 
 relative to Auburn the defcrtcd, in 
 another. The Author's plan is more dc- 
 fultory ; he gives us, alternately, con- 
 trafled flvCtchcs of the fuppofed place 
 in its two ditterent fituations : 
 
 The Poem opens with an apoftro])hc 
 to its fubjed : 
 
 V. I.
 
 252 CRITICAL ESSAYS. 
 
 V, I. Sweet Auburn, /s-ji-AVy? village of the plain, 
 
 Where health and plenty chcar'd the lahourhi^ 
 
 (vra\n ; 
 Where fmiling fprtng Its carlieft vifit paid, 
 And parting fumnier's lingering blooms dclay'd. 
 Dear lovely hmers of innocence and enfc^ 
 Scats of my youth, when cv^yfpott could pleafe ; 
 How often hr.vc I loiter'd (>n thy green, 
 Where humble happinefs cndcar'd each fccnc. 
 How often have Ipau<i'd on every charm. 
 The (helter'd cot, the cultivated farm ; 
 The never-failing brcK>k, the bufy mill, 
 
 The decent church, that t(>pt the ntigbbVin" 
 
 hill, 
 'i'hc hawthorn buHi, \vlthfiat>/r>/^r7//) the JJadt., 
 For Lilking age, and whif|H.-ring lover-i made! 
 How often have I bleft the coming day, 
 When toil rtmitting lent ifN turn to plav, 
 And all the village train from lil-Aofreey 
 Ltd up thtir Jp:rti hinnstlj tie fpreading tree ; 
 irhiU many a pq/lime drcled in the jl.ade^ 
 The young contending as the old furvey'd ; 
 And many a gaml'A frclick'd otr the ground^ 
 And /lights ef arty and feats of jhength xienl 
 
 round. 
 And ftill as each repeated pleafure tir'd. 
 Succeeding fpcrts the mirthful band infpir'd-^ 
 The dancing pair, that fimply fought renown 
 By holding out to tire each ether dowiij 
 
 The
 
 CRITICAL ESSAYS. 253 
 
 The fvvain miflruftlcfi of his fmuttcd ucl\ 
 While Iccrct laughter tittcr'd rourul the place j 
 The bafhful virgin's fidc-long looks of Icivg, 
 The matron's glance, that would thoftf looks 
 
 reprove ; 
 Thcfc were thy charms /aYir vilbgo ;//>;'.'> like 
 
 thefe 
 W\l\\ fiv:et fuccfjjiin taught e\n t:Uf) fhaj-^ ; 
 Thefe round thy hni-n thy chcarful influence 
 
 fticd, 
 Thefe were thy charms — But all thefe charms 
 
 are fled. 
 
 This palTagc is one of that kind, witli 
 which the imagination maybe pleafecl, but 
 which will not fully fatisfy the judgment. 
 The four lines, * Dt\ir lovely bo-iccrs,' 
 6cc. might perhaps have been fparcd. 
 The village diverlionb are infilled on with 
 too much prolixity. They are defcribed 
 firll with a puerile generality, redund- 
 ance, and confufion : they are Jporis, 
 2nd pijjli/nesy and gambols^ and fights cf 
 arty and feats of frcngth ; and they arc 
 reprefented fometimes as paliivc, the 
 ' fports are led up ;' fometimes as active, 
 
 the
 
 254 CRITICAL ESSAYS. 
 
 the * padimcs circle^* and the gambols 
 
 * frolick,' and the 'flights and feats go 
 
 * round.' But we are perhaps fully re- 
 compenfcd for this, by the clafllcal and 
 beautiful particularity and concifcncfs 
 of the context, * the dancing pair ^' * the 
 
 * /wain miftrujU'fs of his fmutted facc^ 
 the ' baji:ful "cirgins looks, GV.' The 
 paragraph in general has much inaccu- 
 racy, efpecially a difgufting identity 
 of didion; the word ' hoiverSy occurs 
 twice, the word 'fivcct,' thrice, and 
 
 * charms* and ^Jport, fingular or plu- 
 ral, four times. We have alfo * toil 
 
 * ranitting* and * t^Al taught to pkafc* 
 
 * fucceeding fports,' and * /ports ivith 
 
 * fwcet fuccejfion* 
 
 Y. 35. Sunt fmlfing village, lyjiliej} of the lawn. 
 
 Thy J^irti arc flcJ, and all ihy iharmt \vitl» • 
 
 drawn ; 
 Araidft thy hsx\s the tyrant's hand is fccn, 
 And dffiuit'nn Jii.Unis all tly grtCK : 
 One only mailer grafjv; tht- whole domain, 
 And hull" a tilla'j;c Hints \h\ fmiUng plain j
 
 CRITICAL ESSAYS. 255 
 
 No more thy gbfTy brook rcflc^l* thL- i\.\\\ 
 But thok'J wiifi ridL'c;, works its wtw'Jy way. 
 Alon^ the glaJts a folitary gucfi. 
 The hollow-foiinilin:; Miicrn glurJ^ its ncfl ; 
 Amuift thy c!«.''.rt \.-.;l!<<i the Ljnving flics 
 Ani! tin*, their cchccNwiih ri-jxvtt Jcrivs. 
 Slink arc thy/;icvr> in flir.jx.lt.fs ruin .lU, 
 And the luii^; £raN o'er tops the niouIJ'rinj; 
 
 w.ill, 
 And ticnihlin^', fiirli.kiiig, fiom the fjxillcr's 
 
 huiu!, 
 luTy f.'.r awMV thy ch'l. hen leave the land. 
 
 The paflage already examined, and this, 
 have both the fame tharad;er of vcrbofi- 
 ty. There is a repetition which indi- 
 cates intention, and maintains regula- 
 rity ; and there is a repetition which 
 difcovers either carelefinels, or poverty 
 of language. Auburn had before, 1. i. 
 been termed * J'l^cety and * the k'vclicjl 
 
 * village of the plain ;' it is now termed 
 
 * fiveety and * Jhiilingy and * the Arr- 
 
 * I'lcft of the liJiiu.' We had been told, 
 1. 34. that * all its charms ziere fed\ 
 and we arc now told that * its fports are
 
 256 CRITICAL ESSAYS. 
 
 * fledy and its charms ivitbdra\i:n' The 
 
 * tyrant's handy fccms mentioned ratlier 
 too abruptly; and * dcfolation faddcnlng 
 ' /he grim,' is common place phrafco- 
 logy. The eight lines, * No more the 
 ' S^'i^ brooky ^r.' are natural and beau- 
 tiful; but the next two, * jind trembling, 
 
 * fjrinking, ^c' arc ill-placed, for they 
 prematurely introduce the fubjcd of 
 
 emigration. 
 
 V. 51. //! (:\Tcs> thcIanJ, to haficniiig if'> a prey. 
 
 Where wcaltli accumulate-., anJ nicn Jcciv ; 
 PriiKi-3 and lords niayt1'>uri(h, or may fade ; 
 A breath can make them, ai a breath ha> 
 
 made ; 
 But a bold ixrafantry, their country's pridr, 
 When once deftroy'd can never be rup;)!y'd. 
 
 A time there \va<;, c'rc England's gri.U 
 began. 
 When every roo<! ofground maintain'd its man ; 
 For him light labour fpread her wholefome ftort', 
 Juft gave what life rcquir'd but gave no more : 
 Hisbeft compani(>n> inncKcnccand health. 
 And his bed riches ignorance of wealth. 
 
 The
 
 CRITICAL ESSAYS. 257 
 
 The firft of thcfc paragraphs, * III Jar 1 5 
 
 * the land^ Cfc' with all its merit, which 
 is great, for the fentimcnt Is noble, and 
 \\\^ cxprefllon little inferior, feems 
 rather out of place; after the affair of de- 
 population had been more fully defcrib- 
 cd, it might have appeared to advantage 
 as a concluding retlc(ftion. The fccond 
 afferts what has been repeatedly denied, 
 that * there "^as a time in England, ivhcn 
 
 * cjery rood of ground maintained its man* 
 If however fuch a time ever was, it 
 could not be fo recent as when the De- 
 fertcd \'illagc was flourilhing, a circum-r 
 Aancc fuppofcd to cxill within the re- 
 membrance of the poet ; confcquently 
 the idea had no bufmefs in the poem. 
 
 V. 63. Ijj' times arc al'.'rr'd ; traie's unfeeling train, 
 Ufurp the l.ii'.J, zvA dTpo.Tefs the (\V7i\n ; 
 A!on;: the Lwn, where fcaiter'd hamlets rof?, 
 Un'iA'eildly wealth, and cumb'rous pomp re- 
 
 pofe ; 
 And every want to opnlcr.ce allied. 
 And ever) p;;n^ t'-.at f'^iiy pays to pride. 
 
 R Thofc
 
 258 CRITICAL ESSAYS. 
 
 Thofc gcnlU lours that plenty baiic to Ham, 
 Thofc calm ilcfirts that alk'dbut little room, 
 Thofc healthful^ f;7j thatgrac'd the peaceful 
 
 fccnc, 
 Lw\l in each /cs-f, and trightcn'il all the 
 
 green i 
 Ihift- far-ill p.irthi^y fit h a litidcr J} irCj 
 And rural mirth end rr.r.KKcrs an n: mere. 
 
 This paHiigc is a mere fiiperfluity. The 
 firft fix lines, * But times arc alter dy 
 might have been rcferved for introduc- 
 tion in fonic other part of the piece. 
 The next, * I'hefe gc?itlc hours, ^c.' 
 fliould liavc been totally fuppren'ed : 
 
 * gentle hours that are bade to bhorUy and 
 
 * healthful /ports that live in locks y and 
 
 * brighten a green ;' is certainly not vin- 
 dicable language. The * hours, and tlic 
 * /ports' allb, are faid to * /eek a kinder 
 ' fiore,' which * kinder /.ore,' is incon- 
 fiftently defcribed in the fequcl of the 
 poem, as fraught with every inconve- 
 nience and every danger. The mention 
 of the * /ports,' and of the emigration, 
 
 Thc/^ 

 
 CRITICAL ESSAYS. 259 
 
 ' Tbcfcfiir-dcparting, (^c* is here again 
 unnecefiarily repeated. 
 
 V. 74. SiUiVt Auburn! parent of the bllGful hour. 
 
 Thy glades forlorn confcr>thc /);•<;;/'> power. 
 Here as I take my fo'.itary roinul«, 
 AmiJll thy tani;lin^^\vaIk.>,anJruin\i grounds, 
 AnJ, many a yc.inl.'.psM, return to view, 
 Where unec tlje ccttage ftooJ the hawthorn 
 
 i;rcw, 
 Heic, a>» with Jouhtful, penfuc ftep-; I ran^c. 
 Trace every feenc, auil woiuierat tliecljanj^c,* 
 Renicni!>ranoc w.ike> with all hi. r Inifv irairi, 
 Su\!.i u'f ''T ht-'jlf anJ tllr:l^ thep^fl ^o paiiu 
 
 The adjedlve * ficci't^' is frequently, and 
 very properly, in life as a fuhllitute for 
 agreeable or pleafant, hut it difpleafes in 
 this work by perpetual repetition. The 
 ohfeure ajid indefinite idea of a * 'Tvrnut,' 
 rceurs alfo unncccnarily here again. 
 There is patlios in the lines, * And jnany 
 
 • Ar^ unijuam pntrios longo pod tempore fines. 
 Pauperis ct luguri cong.ftutn ccfpitc culmcn. 
 Poll aliquot nica rcgna vidcns mir^bor arlllas .•• 
 
 \'|RC. 
 
 R 2 * a year.
 
 26o CRITICAL ESSAYS. 
 
 * a yciir, C^c* but they arc as evidently 
 mifplaccd as fomc of their prcdecefTors : 
 wc wiHi to hear more of the Village in 
 its profperity, before we hear fo much 
 of its dcfolation. 
 
 Subfcqucnt to the above, we have an 
 cxpatiation on the Author's fallacious 
 hope of concluding his days at his fa- 
 vourite Auburn, and a paragraph in 
 praifc of retirement; both well written, 
 but rather cpifodical. 
 
 \'. 115. StLiTit v.\is the fuuiid, when oft at cv'iiiii^'s 
 
 Clofc, 
 up yoiiJ'.T hill t!ic vill.gc murmur roll- ; 
 T^ere iS I p.'.il with carckfslkps, and flow, 
 The mingled n«.t«.s came fuftcn'd from Iliow ; 
 The fwain ierpoiiruc3<; the milk-maid fung, 
 1 he filer hcid that low'd to meet their vour.'' ; 
 Tftc nojfy geefr that gabbled o'tr the pool, 
 The pla\t'ul children juft Lt koji from fehool ; 
 The watch doj^'s voice, tJiat bay'd the whilp- 
 
 *rin;j^ wind, 
 And tlie loud l.ui^h, tli.it fj>ol:c the vacant 
 
 ntitid ; 
 
 Thcfc
 
 CRITICAL ESSAYS. 261 
 
 The<c all infoft confufum/rr^lt th jla.l\* 
 
 And f:!rd each paufc the nightingale had made. 
 
 But now the founds olpopiibtioii t.>il, 
 
 Ko chcaiful nmrmurs fluctuate in t!.c ^ :■'''» 
 
 Ko bufy fti."j)s the grafs-^rown f. lof.v.iy trc...\ 
 
 But all the i::cmjf.-'jh of life tsfj. 
 
 All tut yzr. uhlilvJ j'jUtdij thifrj 
 
 That fetbly bcnd'i lufuk- the p'aOr/ fjirin;; ; 
 
 She wretched matron, t' re 'J, in r.:;c, for bual, 
 
 To firip tl.c bror.k. with nunlling crefics fpread, 
 
 To pick her wintry faij^ot fioin the thorn, 
 
 To feel: her nightly fliad-;, an ! :c tp ti.'i morn ; 
 
 She only left of all the harml. f> train, 
 
 l"hc fad hilbrian of tiie pn.f:v{ pbin. 
 
 Tills is indeed a pafugc of uncoininoii 
 merit. The circumflaiites it deleribes 
 arc obvious in nature, but new in poe- 
 try; ar.d they are delcribed with great 
 force and elegance. Milton, in a fiinile, 
 
 • The village murmur, I. i j6, is faiJ * /j Z-wi^ riftn 
 * up th till;* it is now faid to have * fught tit JhaJc* 
 Tliis fcems at firft fijht an inconfirtcncy, but perhaps the 
 poet may be vindicated by fuppofing that liie hill, like 
 ©any other hills, was ftiadcd with trees. I'erhapi if 
 a rhyme had not been wanted, we fliouid not h-vc met 
 with ihc word ' fjeJt,* on this occaUon. 
 
 R 3 ^vhich
 
 262 CRITICAL ESSAYS. 
 
 which he thought capable of ilhi ft rating 
 the idea of an Eden, among other ob- 
 je<fls of dch'ght has introduced 
 
 Each rural fight, c.ich rural founJ. — 
 
 The Epic Poet, however, only mention ^ 
 found in the general, but our Author 
 defcends to particulars, and thofc parti- 
 culars arc moll happily feleded -, they 
 bear one uniform confident character, 
 viz. that of a fobcr or fcrcne chearful- 
 nefs. The locality given by tlu inti- 
 mation, that they were heard ^ from /v- 
 
 • loiv,' has a fine effect. In Paradife LoA, 
 b. V. 1. 547. wchavca beautiful inllaiu.- 
 of the fame kind : 
 
 Cherubic fongs, by night fro;n nciiilih'rij^'' hi!!^. 
 Aerial nuific lliid. * 
 
 The Matron gathering ivatir-crfjf.s, 
 is a fine pi(51ure J but there is unn.itu- 
 
 • The filuation h hcic rcvcrfcJ, the fongs prcccf! 
 
 from abo\c. 
 
 ral
 
 CRITICAL ESSAYS. 263 
 
 ral exaggeration in rcprcfcnting her as 
 
 * loecpingy* every night, * //// riiorning ;* 
 fuddcn calamity occalions violent emo- 
 tions, but habitual hardllilp will not 
 produce inccfTant forrow ; time recon- 
 ciles us to the mod: difagrccablc Situa- 
 tions. Our Author's language in this 
 place, is nlfo very defective in corrcvft- 
 nefs. After mentioning the general 
 privation of the * blctomy JIuJh of life,* 
 the cxceptionary, ^ all but y includes, as 
 part of that ^ bkoviy fi'.jhy an * iigcJ Jc- 
 
 * crcpiJ vhUron i that is to fay, in plain 
 profe, * the bloomy fujl: of Ife is all fed 
 
 * but one old icomcin.' 
 
 The Poet now recurs again to the pafl. 
 When Auburn is defcribed as (louri/li- 
 ing, its Clergyman as a principal inha- 
 bitant, is very properly introduced. 
 This fuppofed Village Paflor, is cha- 
 raderized in a manner which feems al- 
 moR unexceptionable, both for fenti- 
 ment andexpreflion. His contentment, 
 R 4 hofpitality.
 
 264 CRITICAL ESSAYS. 
 
 hofpitality, and piety, are pointed out 
 with fufiicicnt particularity, yet with- 
 out confufion or redundance. Where in- 
 difcriminate approbation can be hazard- 
 ed, quotation is the Icfs necefTary ; but 
 probably few readers will think the fol- 
 lowing cxtradls tedious. 
 
 Near yonder copfe, vhere once the g?rdcn 
 
 finil'd, 
 And ftill where many a garden flower grows \v;M; 
 There, where a few torn fluiihs the place difclofe. 
 The village preacher's mcdeft nunfion rofe. 
 
 This is a fine natural Aroke. — We fee 
 the * CGi>fc^ the * torn /J:ruhs,' and the 
 * fcattcrd foiicrs.' The la(l rcinaininij 
 vcftige of what was once a garden, is 
 always the * gar Jen fo^-.i-cr that groiis 
 
 A man he was, to all the country d?ur, 
 And puflingrlch with forty pr.iir.Ji z vear ; 
 Remote from town<: he ran hi^ g-jJly race, 
 Nor e'er had chan;;,'d, nor wiih'd to change 
 his place i 
 
 Unrtiilful
 
 CRITICAL ESSAYS. 265 
 
 Urffcilf!!! he to fawn, or fctk for pcw-cr. 
 By doftrines fafhion'd to the varying hour ; 
 Tzr other aims h!'> heart had Icarn'd to pri/', 
 More bent to wife the wretched, than to rife ; 
 His houfc was known t.) all the vagrant train, 
 He chid djcir v.'.inu'jings, bi.t relicv'd their 
 
 pain. — 
 — I'Icas'd with his giicfts, tlicgood xmr. Ic.iin'd 
 
 to -Aa, 
 And quite f(Tgnt their \kcs in thiir woe j 
 Carclefs ihcir merits or their f;iul:s to ftan, 
 Hl> pity gave /Vr charity Ir^a:. 
 
 The benevolent mind cannot but } IcM 
 its hearty afi'cnt to iliis beautiful oblique 
 rcprchcnlion of tliat avarice which nukes 
 the crimes nnd errors ot the poor, a ptc- 
 tcncc to juflify the indulgence of its 
 own parfimony. 
 
 —At church wiA vntc]c ind imi.frVrtcd grace. 
 His lo')ks adorn'd the vcr.ci.tblc place -, 
 'rr'.:t!i fro-ti Ills !"psprev;iilM witii tl-aible fwav. 
 And {iXtU wiio came to fcofr*, rcnain'd t > pray. 
 The fervjce part, arour.d t'le plo.is man, 
 Witii Ready '/eal the hot-ell rjlticks ran ; 
 Kv'n children follow'd with tndeariiig wili-. 
 And pluck'd his gnwn to fharc l'.c g<'')J nun's 
 (mile : 
 
 His
 
 266 CRITICAL ESSAYS. 
 
 His rciJy ftnilc a parent's warmth cxprcfs'd, 
 Their welfare plcas'J him, arul their cares 
 
 didrcfsM ; 
 To them his heart, his love, his grief, \\x:c 
 
 given. 
 But all his fcrious thoiij;htsh.iJ reft in heaven. 
 As funic t.ill cliJiiiat lifts its av.fiil form. 
 Swells from the vale, anJ miJw.iy leaves th- 
 
 (lorm ; 
 'i'hough roun<l its brcafl tlic rolling cloiuls 
 
 arc fprcad, 
 Ktcrnal funfhinc fettles on its hcaJ. 
 
 Poetry attains its full purpofc, when 
 it fcts its fubjcds llronLjly and dillindlly 
 in our view. This is the cafe here : wc 
 behold the good old man attended by his 
 venerating pariiliioners, and with a kind 
 of dignified complacence, even permit- 
 ing the familiarities of their children. 
 The concluding fimile has been much 
 admired, and fo far as immaterial objcds 
 can be illuftrated by material, it is 
 indeed a happy illuftration. 
 
 As every parifli has its Clergyman, 
 almofl every paridi has its School-niafter. 
 
 This
 
 CRITICAL ESSAYS. 267 
 
 This fccondary characf\:r is here dc- 
 fcribcd with great force aiui prccifion. 
 The Mufe, in part of her cielcriptioii, 
 has dcfccndcd to convey village ideas, 
 in villaije lani^unije, but has contrived 
 to give jull fo much dignity to tiic fami- 
 liar, as prevents it from difgulling. 
 The point is indeed fo nice, that to f:\y 
 the lines in italicks arc not profaick or 
 mean, is perliaps to fay all that can he 
 faid truly. Wc arc reconciled to them 
 only, hecaufe we knov/ that they are the 
 crtlxt of choice, not of incajxicity : 
 
 Dcfuic yon llr.i^jiUni;; fcnci- tli.it frciris I'r.v.- w.u, 
 \\ ith Moiloni'J i'lii/i.- tiiijvi'iii.ib'v g .v, 
 'liicrc in his noi'V inan(u>;i, fKiliM to ruli.', 
 The vil!;i^c-m.ini.T t.ui^hi hi> ll:;!c lllifiol ; 
 A man fcvorc l-.c wa'-', nml iKrii to view, 
 I knew Iiinj wdl, and every triiaiu knew. 
 ^V'cll h;i<l li: J ooJing trcinbler;* le.irn'd to tnice, 
 Ti'.c cl.iv';. liM.iHer-) in hi^ nuiiniir^ iU'.e ; 
 Full Well lliey l.iiij;h'J with count, i.'ji.e J i^loe, 
 At all Iii^ j<'k->, for m;iny a joke h.ul lie ; 
 Full well the biifV wliiljKr cirelini: rounl, 
 ConveyM the Jilinal tiJin^-* wiien lie hovvnM; 
 
 Yet
 
 268 CRITICAL ESSAYS. 
 
 Yet he was kind, or if fcvcre in aught. 
 The love he bore to learning was in fault ! 
 The villa^'call dttlar'd how much he hruw ; 
 'Txat certain ht coulJuritc and cypl.cr tco ; 
 Lands he could mcafure, terms and tiJcs prc- 
 
 fagc, 
 And (\i: the J} cry ran that he cciiU ^,:^/: 
 In arguing t<»o the pp.rfon own'd his fKi!!, 
 For e'en lljough vaiiquifli'd, he could argue 
 
 dill; 
 "While words of learned length and thundVing 
 
 found, 
 Amaz'd the gazing runicks rang'd around, 
 And ftill they ga/.'d, and ftill the wonder grew, 
 77m/ cne f'lial! hctidicu'diarrya/l he intzu. 
 
 The defcription of the Village AIc- 
 houfe, contains doincftick nilnuti^, of a 
 kind, which nuift nccclFarily have plcaf- 
 cd in the original, but which the hand 
 ofamafter alone, could have made to 
 pleale in the copy. That learned and 
 judicious Critick, Dr. Warton, in his 
 Effay on the Writings and Genius of 
 Pope, juftly obferves, that * The ufe, 
 
 * the force, and the excellence of lan- 
 
 * guage, confifts in raifing clear, coni- 
 
 * plete,
 
 CRITICAL ESSAYS. 269 
 
 * plcte, and circ11mllantl.1l images, and 
 
 * in turning readers into fpcdators.' 
 This theory he exemplifies, by quoting 
 two pafTagcs from his author, in which, 
 he favs, that ' every epithet paints its 
 
 * ohje(f^, and paints it diilindly.' The 
 fame may be faid with equal judicc of 
 the following : 
 
 Near yondtrl/iorn, that lifts Its hc.ii! on hi^h, 
 Where once the fi^n-pofl cuuLjht the pafling 
 
 eye ; 
 Low I'fs that ho:if.-, where nut-brown draughts 
 
 infpir'J, 
 \Vhi.ic ^uy-bcjrJ nurtb, and luiiluij^ toil ic- 
 
 tlr'd i 
 Where vl'il.;-e fiatcfincn talk.M with lix.k> 
 
 prof(.und, 
 And news much older than ihtir ale went round. 
 Imagination fondiv flo<.)j)s to truce, 
 Thir parlour fj)!tndor> of that fe(llve j.Iacc ; 
 The whitc-u-aOi'd wall, the nicely findcd fitx;r. 
 The varnifh'd clock that click'd behind tiie 
 
 The chj? contriv'd a double d'>.bt to pay, 
 A bed by night, a c/.',;/l of drawers by Juy ; 
 The pictures plac'd for ornament and i;fc. 
 The twelve good rules, the royal game oi^iooCj j 
 
 The
 
 270 CRITICAL ESSAYS. 
 
 The hearth, except when winter chlU'd the 
 
 With afpcn bough-, nnd flowers and fennel gay, 
 While brokL-n tea cups wifJy kept for fliov/, 
 Rang'd o'er the chimney, gliiicr'd in a row. 
 
 This fine poetical inventory of the furni- 
 ture, is fully equalled by the charader 
 of the guL'fls, and tlie detail of their 
 amufcments. The negative mode of 
 cxprefllon, ' Thither no more, C^c' by 
 fixing the mind on the pall, adds a kind 
 of pleafing regretful pathos : 
 
 Vain tranfitory fpl.nJors ' could not all 
 Reprieve the tottcri.'i;; nunf.jn from it>. fill ' 
 Obfcure it fink^, nor fli.ill it nu»rc impart 
 An hour's importance to the poor man's lic.irt ; 
 Thither no more the pcafant fliill rep.'.ir. 
 To fwcct oMi\ ion of hi> daily care ; 
 No more the farmer's n-ws, the barber's talo, 
 No more the wofxlnun's ballad fliall prevail ; 
 No more the fmith hi-idufty brow fhall clear. 
 Relax hi<i {xjnd'rous firen^th, and lean to hear j 
 'J"he hoft himfelf no longer fliail l)C found. 
 Careful to fee tlie niantliniij blifs go round ; 
 Nor die coy maid, half willing to be proft. 
 Shall kifs tlk- cup to p.'.U it to the reft. 
 
 This
 
 CRITICAL ESSAYS. 271 
 
 This Is not poetical fidion, but hifto- 
 rical truth. Wc have here no imagi- 
 nary Arcadia, but the real country ; no 
 poetical fwains, but the men wlio ac- 
 tually drive the plougli, or wield the 
 fcythc, the fickle, the hammer, or the 
 hcdi^in^ bill. But though nothinir Is 
 invented, fomethlng is fuppreficd. The 
 ruflick's hour of relaxation is too rarely 
 Co innocent; It is too often contaminated 
 with extravagance, anger, and proflniity: 
 delcribing vice and fully, however, will 
 not prevent their exilling; and It is agree- 
 able to forget for a moment, the reality 
 of their cxillenee. 
 
 The foregoing defcription not unna- 
 turally introduces the following reilec- 
 tions : 
 
 ^ts ! let ihc rich tlcriJi-, the prouJ dirciaiii, 
 Thcfc finiplc blcirings of the lowly tr.iin ; 
 To me more dear, congenial to niv heart. 
 One native charm, tJun «tll the glol's of ait; 
 
 S^iHtunCiUi
 
 272 CRITICAL ESSAYS. 
 
 SptntaKtya jiySy where K^ntuxe hns i/i/>/(7j, 
 T)jf/iu!a.{jptiy and cunt their fijKbzrn fu^aj : 
 Lightly tht-y ftoUik o'er the vaair.t mlud^ 
 Unenx'j' ily unmo'.ijJe.l^ unc^rjind. 
 But the long pomp, ihe niidnighr mafqucradcr. 
 With all ^c freaKi of w.inton wealth array d^ 
 \x\ theff, c*rc triflcrs h:\lf their wifh obtain, 
 The toiling pleafurc fickcns into pain ; 
 And, cv*n while Fafiiions hrightcft arts decoy, 
 The heart diftrufting a(lc<:, if this be joy ? 
 
 The fcntlmcnt here is better than the 
 cxprcfTion. The Poet is probably right 
 in his fuppofition, that the pleafures 
 of the rich arc lefs genuine and lively 
 than thofe of the poor ; but his lan- 
 guage is far from being fimplc or per- 
 fpicuous. That intention and parade 
 raife cxpctflations which will be molliy 
 difippointed ; that the joys which are 
 unanticipated, and nnconftrained, or in- 
 dependent of the will of others, arc 
 the beft ; were undoubtedly the axioms 
 intended to be conveyed in thefe lines, 
 
 * Spontaneous joys y <^c.' By * fpontancous 
 
 * Py^* ^^^ "^"^ underhand, joys which 
 
 without
 
 CRITICAL ESSAYS. 273 
 
 without previous care or provlfion fccm 
 to offer tlienifelvcs to our accept.incc : 
 to fay that the foul re.ulily accepts Aicli, 
 might be proper; but to lay that tlic 
 foul * adopts' them, and at the fame time 
 
 * cii'us their fii'ijy ;' * and to lay that the 
 *fiiay^ is a * firj] -horn /way \ is to ufe 
 thou;'hts and words not clear of confu- 
 fion : but wlu-n thefe joys which tlie 
 
 * Jhiil adoptSy' and whofe ^ f.rJ}-born Jivay 
 
 * it o:cuSy' arc faid to * frjlick 6vcr the 
 
 * juind ii^hth, 'jKi'Trjiidy unnrjcjiedy iind 
 
 * unconf.ncd \ wc have furely a chaos, 
 both of ideas and plirafcology.* The 
 line; have alfo an ambiguity: we 
 know not whether it is meant, that 
 
 * thcfjul(u!'JptsJpc}.t.:Kry.isjyys,' in which 
 
 • To clllcovcr (v.\\y the ronf-ml-of this pafTagc, it u 
 ncccfTary to recur to the foiik- of the wurdi metaphori- 
 cally ufi-J. The /c_y», {:(k:\ the verb cd }t, mull be fup- 
 pofc.! to l)C children, fu.-ncthing inf-'ricr, or dvprndcnt j 
 from ih;" fubll.uiii.i; ^/■''.•-jv, lacy inu.1 b:: fjpjH>rcd to br 
 king, T'lni'thing fu;H"rior, or governing ; :.nd from the 
 vcrbyVo '/Vi, o!ic conceives an idea of a fet ofmif.hir.oui 
 yoang r.ke.s, or of a harlcvjiiin. The//./ tu^//j tlicy ^;, 
 and they ri,lc it, an J frduk ever it, 
 
 S * nature
 
 274 CRITICAL ESSAYS. 
 
 • nature has her play ;' or that * 'uhere 
 
 • nature has her phiy, the foul adopts 
 
 * fpontancous joys :* be the fcnfe what it 
 IT ay, it is fupcrfluous, and fiiperfluitics 
 always create obfcurity. There is a moft: 
 extraordinary confufion of ideas, in the 
 
 * /(?«J pomp' and * midnight mafquerade 
 
 • array d' in the 'freaks cf ivantott 
 
 * wealth :' how pomp and a mafquerade 
 could be * array' d* at all, is not eafy 
 to conceive; but certainly they could 
 not be * array' d* with * freaks.* 
 
 The Poet now proceeds to the caufes 
 which produced the dcfcrtion of his 
 
 village 
 
 Vc friends to truth, ye ftatcfmcn, who funcy 
 The rich nun's joys incrcafc, the poor's decay ; 
 Tis yours to judge, how wide tlic limits ftanJ 
 Between a fplendid and a happy land. 
 Proud fwtlls the tide with loads of freighted ore, 
 And fhoutlng folly hails them from her (horc; 
 Hoard"-, cv'n beyond the niifcr's wifh, abound. 
 And rich men flock from all the world around. 
 Yet count our gains : this wealth is but a name, 
 That leaves our ufeful produsSl ftill the fame. 
 Kctji the Icfs : the man of wealth and pride. 
 Takes up a fpace that many poor fupplicd ; 
 
 Space
 
 CRITICAL ESSAYS. 275 
 
 Space for his lake, his park's extended boiind>. 
 Spec for h;s horfc*;, equipage, and hounJs • 
 Thf r:he that wraps Us limls inftlkinf.jh^ 
 Has roll' a the uei^ hFrl':gf.,Ui zfhal thdrgrovnth. 
 His feat, wh,ri fo'.ita'j j}irti m\-f:r^ 
 Indignant fpurns the cottage from the green j 
 Areand the world each lutdj'ul pro.lutl f.'us^ 
 For all '.he luxuries the wotldfuppliei. 
 irhil thus t'e LirJ ad.rn\lfir pLiifure all, 
 //; I arrinjplerJoi feehly ivjits its fa!!. 
 
 GoKlfinith undouhtctlly was fcrious in 
 the foregoing apollroplic, * Te friends 
 * to truths i^c' but his acquaintance 
 with the world nuifl he but lupLrficial, 
 who could think, that ftatclhicn in ge- 
 neral merited x\v. hii^h char icier of friends 
 of truth, or friends of the poor. 
 
 He had faid before. 
 
 Along the lawn where fcatter'd hamlets rcifl-, 
 UnwviMy wealth and cuinb'rous pomp rejxifc: 
 
 He fays now, 
 
 ———The man of wealth and pride, 
 Takes up a fpace tliat many poor fupplied. 
 
 That the domain of the ancient Feudal 
 
 Lord, or Rural Squire, was lefs exten- 
 
 S 2 five
 
 276 CRITICAL ESSAYS. 
 
 five than thr.t of the modern Peer, Place- 
 man, or Nabob, miy be doubted ; but 
 as many old manfions yet retain their 
 furrounding parks, warrens, 5cc. and 
 manv new villas arc creeled, and adorned 
 whh fpaeious plantations ; plcafurc may 
 be juftly faid to have encroached on cul- 
 tivrition, and the rich to hu'c remotely 
 ablbaaed from tlie provifion of the poor. 
 But tlie inrtux of forei-n wealth h.i' 
 been mifehievou? in another point of 
 view : the nev/ or ccmnierci.d gentry 
 acquiring their money v.ith cale, have, 
 in verification of the proverb, * //,(:/• 
 * f5;;.r, //V// r^,* v/antonly railed t!k- 
 price of commodities : the old, or land- 
 ed gentry, unwilling to defeend fn)ia 
 their (late, and unable otherwife to fup- 
 port it, have been obliged to augment 
 the fize, and advance the rent of their 
 farms :* the great farmer has not been 
 
 • By augmenting the fize of furm?, repairs arc fjvcJ, 
 and rem i. in general better paid. Whether the prafticc 
 is fo injurious to the community, as hai been fuppo.c-, 
 is a point not cafy to determine. 
 
 injured
 
 CRITICAL ESSAYS. 277 
 
 iiijurctl by his incrcilld paymciu, for 
 tlic incrt-afcii value of his corn aiul cattle 
 h.h^ cnaMcd him to pay it, niul often to 
 become opulent. Dut there has been 
 one fufTcrcr; the little farmer has been 
 unnihilateil, or at Kail metamorpholed 
 into a labourer ; and the labourer has 
 had lefs work, the fuiie wages, and 
 more expenee for neeelfirics. The Au- 
 thor of iliefe remarks mull confefs, that 
 when he has vifited f;me of our capital 
 kats, their fecmin^lv interminable len'j;th 
 of lawn, broken only by a few gloomy 
 woods, has worn, to him, an airof me- 
 lanelioly folitude and idle walle, that 
 was far fr(jm being agreeable. He has 
 v.ilhed to exeliange his fituation for the 
 vale of corn-clad inclolure.^, the wiiidin'' 
 lane, and ihrub-hiing brow, with their 
 group of humble cottages, and chetrful 
 iiih.ibitants. The poiTcifors of tiufe 
 places arc thcmhdve.s fcinetiny.-: i-.*ol ilef- 
 titute of fucli fecliri'-.-^ ; tlic i;,"^i5iot!s 
 Mr. I^olter, in his e.aeiieiit Ohkrvati- 
 S ^ ons
 
 278 CRITICAL ESSAYS. 
 
 ons on the Poor laws, has recorded a me- 
 morahlc inrtnr.cc of it : * The I.itc Earl 
 
 * of Lcictntr,' fays he, * hcing compli- 
 
 * merited upon the completion of his 
 
 * great defign at Ilolkham, reph'ed,* ** It 
 ** is a melanclioly thing to lland alone 
 " in one's country. Hook round ; not a 
 ** houfe is to he I'ecn hut mine. I am the 
 ** giant of giant-cafile, and have eat up 
 ** all my neighhours." What then mud: 
 be the cafe, when thefe fafliionahle de- 
 corations are acquired by imn:ediatc ra- 
 pine, extortion, or oppreflion ; by the 
 plunder of Hindoos, and the llavery of 
 l^egroes ? One is ready to all; if it be 
 pollible to enjoy them.* 
 
 —In their towers raz'd villages I {i:c, 
 AnJ tt:4r> oforph.ms wat'ring every tree ; 
 
 • The prr>prietors of tlicfc improvements, as they n:? 
 
 called, evrn if ihey are innocently obtained, feldoni lic- 
 
 'rivc niu».h fati. faction from them. The plcafure they 
 
 afford chicHy rcfults fmm m.-king them ; when they xr 
 
 compleiiil, few objcds f<.>oncr produce faiicly ; 
 
 Tir'J of the fcencs parterres and fuuntiiins yield. 
 He Bndi at lad be better likes a field. — Fori.
 
 CRITICAL ESSAYS. 279 
 
 Arc thcJc mock ruins that invade my view ? 
 They arc the entrails (>( the poor Gcntoo ; 
 That column's trophicd bafe h''5 bones fupply. 
 That lake the tears that fwcll'd his f.ible eye. 
 
 Langhorne.* 
 
 Goldfmith's lart: quoted pafTagc, ' T'e 
 ^ friends to trutl\ G*r.' has been con- 
 fidercd in a political view ; fomc at- 
 tention muft now be given to its poetry. 
 
 * Folly hyiUng^ or welcoming, the Hiips 
 to the ihorc, is a noble perlbnification. 
 The breaks in thcfe lines, * Vet count our 
 
 * gains y * Not Jb our /cjs, 6cc.' have ra- 
 ther a dilagrecable cfted. In blank verfe, 
 to continue the fenfe from one line to 
 another, is ahvays more or lefs neceflary, 
 but in rhyme it is feldoni advantageous. 
 The detached, or unconnected parts of 
 a vcrfe, unlefs very carefully managed, 
 are always profaifms. By this couplet. 
 
 The robe that wraps his limbs injilienjluhy 
 Has rcbb'd tlie nei-hb'rin^ ficlJ-> of half their 
 growth ; 
 
 • Sec hii Country Jusrict. A Poem in which a 
 fine poetical fancy is united with jufl fatirc. 
 
 S 4 the
 
 28o CRITICAL ESSAYS. 
 
 the poet uiuloiihtcdly meant to inti- 
 niarc, that a confuicrablc tra»5l of hnd 
 vould not produce more profit than was 
 rcquifitc to defrjy the cx'pencc of a rich 
 man's clothing. Extravagance in drcf-., 
 vas perhaps more the foible of former 
 ages thin of the prefcnt ; hut be this as it 
 may, the notion of a * /(jA' robbiugficUs 
 
 * cj their groicthy is hyperbolical, auk- 
 ward, and fr-fctchcd. It n^i'ht have 
 b;.en more tolerable in a country of mul- 
 berry- trees. A juvenile writer would 
 doubtlefs thin!; the phrafe of * li'rjpping 
 
 * iimh in filkcn f.oth,' a grand flK^kc, 
 conveying the combined ideas of tmery 
 and lazinefj:. * 77v fdit Jl'irt.li g the 
 
 * cottiigc frm the greeny' would hue 
 been a beautiful imperfonation ; but the 
 efte(it of it is entirely deflroyed by the 
 context, * '■sx'here JoUtary Jports are feen :' 
 the * Sei2ty confidered in itklf, fancy 
 might readily convert into a * Perjln ;* 
 but the * J^i't "where foUtury /ports are 
 
 * jeoit mull inevitably be * a place.* 
 
 Our
 
 CRITICAL ESSAYS. 281 
 
 Our author ufcs tlic v.crd * J'pcrtSy till 
 it becomes alinofl infutTcrablc; he moll- 
 ly HKins by it the alc-houlb ainiireincnts 
 ofvilKiiiers : he here mufl: mean tlie fiekl- 
 liivcrfions of their fuperlors. The four 
 lines, * Arouml the ivorld^ &c\' hud bet- 
 ter have been fupprelTed : the full two 
 are introduced abruptly; the tranlition 
 is not very natural or cafv, from the 
 great man's p. irk, le.it, and ccpiip.i^c, 
 to the exportation of neceiraries, and- the 
 importation (>f luxuries : the lali two 
 Iiave little merit in themfelves, * A Lind 
 
 * c/l iidorncJ jlr plenjuri\ in barren Jplcn- 
 
 * d'Air feebly \i:aitinga jall^' is but an un-' 
 couth l^ind of language : 
 
 V^. 289. As fomcfalr female un ;</j/v;*,/ jiiJ^./,://;, 
 
 Secure to plcafc, while yuudi coitfirms her 
 
 reign ; 
 Slij;ht.-» every borrow'd ihjim that ilrcfi fup- 
 
 plk-s. 
 Nor fh.ircs with art the triumjih of her eyes : 
 But when thofe chjiim arc pail, fcr ch.irnii 
 
 arc frail. 
 When time advanas^ and when lovers fail, 
 
 She
 
 282 CRITICAL ESSAYS. 
 
 She then ftiincs forth folicitous to blefs, 
 In all the glaring Impotence of drcfs. 
 Thus fares the land^ by luxury betray'd. 
 In nature's fimplcft charms at firfl arrny*d ; 
 But verging to decline^ its fplendors rife, 
 It's viftas ftri'ice, it's p.ilace<; furprizc ; 
 While fcourg'tl by famine, from the ftr.ilin^ 
 
 brui 
 The mournful peafint leads his humble band ; 
 jlndtvliU lepnisy w'lthiut ant arm to fave^ 
 The country ikoms — a gariL-n^ an.la grave. 
 
 The prcdilcdion of crlticks, and Indeed 
 of readers in general, in favour of the 
 fimilc, as an cnential conlUtuent of 
 poetry, is fo Arong, that wlioevcr thinks 
 lightly of it, will probably he deemed 
 a fort of literary heretiek. That fiml- 
 lies arc fomctitnes employed to great 
 advantage, mud be readily allowed; but 
 that they arc far from being always ad- 
 vantageous, is certain. In the above 
 paflagc, nature and art arc contrafled in 
 two different fubjedls. Some diftant 
 kind of rcfemblancc may be fancied, 
 between a fine faOiionable lady, and a 
 
 countrv
 
 CRITICAL ESSAYS. 283 
 
 country full of palaces and gardens j 
 but the parallel, as Goldlmith has drawn 
 it, is exceedingly dcfcdive. Ornament 
 in the vvoman, is the effect of a deliberate 
 fyllematical defign to recommend hcr- 
 felf, and pleafc others ; the country is 
 incapable offuch delign ; and even thole 
 who adorn it, fcarcely think of ren- 
 dering it plcafing to any but them- 
 fclves. The emigration affair is * here 
 
 * again hammered on the tar,' by re- 
 petition ; it is indeed introduced like the 
 burden of a lung, at every opportunity. 
 There is however a noble picture, in 
 
 * Famine J'conr^hig- the feajnnt from the 
 
 * Lmd.' Perhaps a writer has not 4 
 more difricult tall: than to know when 
 he has faid enough : * Fiimine Jiourgi's 
 
 * the peafant from the Umd \ 10 far the 
 thought, however ill-placed, is pro- 
 per; but while he is *fcourgd auiiy,* 
 he is very inconliliently rcprefentjd us 
 
 * leading bii humble hand 'ivitb Lim.' W^c 
 have then other new and unnectflary 
 
 ideas.
 
 2S4 CRITICAL ESSAYS. 
 
 ideas; he is * fcourgcJ avcayy and lie 
 
 * leads his hami -,' and now he * /inks,* 
 We arc not however to fuppofc, that he 
 literally finks into the ocean, or into tlic 
 grave, hut metaphorically,* into pover- 
 ty or diflrefs : and he finks, * lin'.bout 
 
 * cnearmtofd'-ce\ which is an aukward, 
 and aln.oft ludicrous fuhOitutc for fiy- 
 ing, that there is no perfon ahic or wil- 
 ling to relieve him. The * Coiiy.try 
 
 * bl'^oming a garden tiud a grjz\'/ is 
 another ahhirdity : had the pcalantry 
 been dcfcriheil, as pcrilliinLj at home, 
 the cxprefi'ion would have been juil ; hut 
 the country could not be tlie * griiir 
 « c///5/t' id'o held l.fi //.* 
 
 V. 305. Whfre then, ;'l.i<;, fli.i!! p.)\i.rty rcd'-lc". 
 
 To fcnpo t'.o p. cfiur.' c t cor.ti^u.nis priuc ? 
 If to Ici.c cr.n.cni fvnc(.!cf- limits ftr.'vM, 
 He drivo his fiock to pick the fcanty H.-.cc ; 
 
 • The ir.ct.-phor is .-n /j^n.-/ f tuus, that leaJi many 
 a poet into thv bog of r.onlcnf- : far inilancts of this, 
 rccourfc may be had to Dr. Younc's Night Thought-', 
 and to feme productions of the piclcnt day. 
 
 Tuofv,
 
 CRITICAL ESSAY>i. 2S5 
 
 Thofe fcnctlcfx htLls ih: (ov.icl w\:J.:'.\ i!;v'.Jc, 
 
 The great fault of tliis Pccin, is a dlirc- 
 gnrd to conliik-ncy. The previous re- 
 peated hinti. of the c:r.i:;raiion, Ii.:i1 i::- 
 tirely fuperfLdcd tlic ;il)L>ve palT.igc ; fur 
 thofe wiioin * I'dmir.^ l\id Jt'y.ir^cJ from 
 
 * tiji' Lmd' it fiirclv need not h:ive been 
 alked, * in rchat juirt cf it tbey jhould 
 
 * rcfidcj With funil.ir iinproj>riety Rii- 
 nil Poverty, whleh v.c were led to fiip- 
 pofe h;id kit its native hind, is now 
 introduced ;;s relirin^^ to the metropo- 
 lis; but is fliewn to deiive no advant- 
 age from a retreat tliillier. * I'he glit- 
 
 * tcring coiirtiify is there con trailed 
 with the * pale artijl, t./j! pUcs the Jichlj 
 
 * trade 'y and tumultuous Grandeur, and 
 her rattling chariots, glaring torches, 
 6cc. with the dilbebful filuation of a 
 poor prollitute, who 
 
 —Once perchance in vill;i::c pltiity bid!, 
 Iks u\})t at tales oriiinoccii^jdiHiCi* ; 
 
 Her
 
 286 CRITICAL ESSAYS. 
 
 Her modcft looks the cottnge might adorn. 
 Sweet as t!ie primrofc peeps ht-neath the thorn ; 
 Now loft to all her friends, her vinuc flcJ, 
 Near her betrayer's door fhe h\-s her head ; 
 Andpinch'd with cold, and ftirinking from the 
 
 (how'cr, 
 frith heavy heart de^hra that lucklfi hsury 
 lyhiniJIy Ji'Jiy amlithus cf the t'AuKy 
 She left hi r vjhtnly andrtbii cfciUKtrylrcxn. 
 
 This is a fine pafTngc : there is beauty in 
 the fimile of the prinirofe, and pathos in 
 the mention of the unhappy girl laying 
 her head at the door of her betrayer ; 
 but the latter fcems rather enfeebled by 
 the addition of thcfc lines, * With heavy 
 « hearty Gfr.* 
 
 The Author now rather unlliilfully re- 
 turns to his fubjedl, by the following 
 inquiry : 
 
 Do thine, Jivcet Auburn, thine the lovelicft 
 
 train, 
 Do thy fair tribes participate her pain? 
 E'vn now perhaps by cold and hunger led. 
 At proud men's doors they a/k a little ireaJ, 
 
 The
 
 CRITICAL ESSAYS. 287 
 
 The reply to this query, introduces the 
 emigration in full detail : 
 
 Ah no! to illftant climes a drear)- fccne, 
 Where half the convex worlJ intrudes between, 
 To torrid tracts, with fainting fleps tlicygo. 
 Where wild Altama raurniursto their woe : 
 Far different there from all that charm'd be- 
 fore. 
 The various terrors of that horrid fhorc ; 
 Thofe blazing funs that dart a downward ray, 
 And fiercely fhcd intolerable day ; 
 Thof." matted woods, where birds forget to 
 
 fmg, 
 Kut filcnt bats indrowfy cluftcrs cling ; 
 Thofe poifonous fields, with rank luxuriance 
 
 Where the dark foorpion gathers deaili around ; 
 Where at each ftep the ftranger ftars to wake 
 The rattling terrors of the vengeful fnakc; 
 W'hcrecrouding tigers wait their haplcfs prey. 
 And favagc men more murderous ftill thari 
 
 they; 
 While oft in whirls the rr.a/l tornado flics. 
 Mingling the ravag'd landfcape willi the flcies. 
 Far dlffirint tltfefrom tvtry former J, t'lt^ 
 77v co'Sing bro'A^ the grajj'y-vejltd griirij 
 The breexy covert of the tuarh'Ung grove^ 
 That only jhelter^ d thefti cf harmlef kvt. 
 
 This
 
 288 CRITICAL ESSAYS. 
 
 This piece is animated, and in general 
 corrcdly drawn ; tlic candid rational 
 critick can have little objection to it. 
 The general cffcd of the pafTa^c is in- 
 deed weakened by the two lafl cou- 
 plets, * Fur differcnty cifr.' which arc 
 totally fupcrfluous, and of dilTiniilar 
 chara<flcr. The compound * graJJy-1•rJl- 
 * ed,' is a bad one; the adjeclivc * ^raffyy' 
 conveys the whole fcnfc, confcqucntly 
 the participle, * I'ejted,' is tautologou'^ ; 
 grafs-veftcd, or vcrdure-vcrtcd, woultl 
 have been proper. 
 
 V. 367. GcxKlhcav'n! v.'hr;l forruu^^loonrj that puit- 
 
 ing day. 
 That call'd them from thcii lutivc walks away : 
 When the poor exile-, cvcrv plcafiirc paft. 
 Hung roiinJ their l.v.rrij and loudly lool'd 
 
 their laft ; 
 And took cling farrxtV,^ ar.Jwifr)'din vain^ 
 Fcr fiati lUe tlejc- Lyzrd tfu uvjh rn r.ain ; 
 And fliudd'ring ftiil to face thcdiftant deep, 
 Rcturn'd and wept, and lliU rcturn'd to w^cp. 
 Thc^ood »>ld f.rctiiL- fuft prfpar'dto go. 
 To new-found world-, and wept for other.- it:-'; 
 
 Bui
 
 CRITICAL ESSAYS. 289 
 
 Rut for himftlf in confcious virtue brave. 
 He only wifh'd for worlds bcyonJ the grave. 
 His lovely daughter, lovelier in her tears. 
 The fond companion of his helplefs years, 
 SHent went next, neglectful of her charms. 
 And left a lover's for a father's arms. 
 \\"\\)\hudi-r pLiint^ the mother fpf)};e her tfj«. 
 And bleft the cot w!»cre cvtry pUdjure rofc ; 
 And kifi'd her thoughtlefs babes witli many a 
 
 tear, 
 A.nd clafptthem clof.', in forrow doubly dear ; 
 While her fond hulband fti.nc to lend relief. 
 In all the decent manlintfs of grief. 
 
 An injudicious arrangement is obvious 
 here again. This p.ilfagc fhould have 
 precccdcd the pallagc lall quoted, * Ah tio, 
 * to dljlant clhncs , ^c' the people fliould 
 have been introduced as going, before 
 the place to which they were to go, had 
 been defcribed. This dilpofition would 
 have produced another advantage, a cli- 
 max in character, from the pathetick to 
 the fubllmc. This paragraph has many 
 beauties : the heart mud be infcnfibic 
 indeed, which does not feci the (otcc 
 T of
 
 290 CRITICAL ESSAYS. 
 
 of pathos, in the circumftanccs of the 
 Cauglitcr rch'nquiflnng her lover, in or- 
 der to attend her father; and the mother 
 clafping her thoughtlefs babes, with ad- 
 ditional tendernefs. The Labor limcCy 
 might however have been employed to 
 advantage ; the lines in italicks might 
 have been fparcd ; and the pofitivc ad- 
 jcdive, * filcjity in the 15th line, and 
 the comparative, * hudcVy in the 17th, 
 do not agree :• to fiy that fome accents 
 are hiidcr than others, is proper ; but 
 to fiy that any accents arc hudcr than 
 JilcncCy is abfurd, bccaufc y^Av/r^ cannot 
 be * loud' at all. The idea of habita- 
 tions had been conveyed under the name 
 of * boivcrSy the mention of them again, 
 under the name of * the cot li'bere cccrj 
 * pleafure rofe,' was nccdlefs. The ex- 
 preflion, * ivbere every pleafure rofe, \- 
 unufual, and rather aukward. 
 
 This is fuccccded by an apoftrophc to 
 Luxury, in which kingdoms inebriated by 
 
 he:
 
 CRITICAL ESSAYS. 291 
 
 her potions, arc not very elegantly com- 
 pared to an hydropic human body. This 
 apoftrophe is ill placcil, as it intercepts 
 the connexion between the laH: quota- 
 tion, • Good heavcfij (Sc' and the fol- 
 lowing, which concludes the poem; 
 
 £:>'n k'jIV thi- JcV.ijlatt:', it /v^«n, 
 Ami half thf iuj'iitiji Zj ./;;«</;«<■; 
 
 Ev'n now mtlhinks, .i> p-nJcriHt; here I flanJ, 
 I fee the rural vlrtiK> I-j.uc the hiP.J. 
 Down whcic you ;uichorln;^ vcficl Ijircjdb" the 
 
 Jail, 
 Thai iilly w.iitinj:, (laps with every j{ali" j 
 Downward they move, a nKl.in..h()ly ban J, 
 l\ifb fioni the Hiorc, and darken all the llrand. 
 Contented toil, and hofpitable care, 
 And kind connubial tcndernefs are there ; 
 And piety with wifhcs plac'd above, 
 And fteady loyalty, and faithful love. 
 And thou fwcct I'uetry, thou lovelieft maid. 
 Still tirfl to fly where fcnfual joys invade, 
 Unft in th.fi dL^enerate ttma ofjhanuy 
 To calJ) the heaytyUtiljlrikepr hzncjl faim \ 
 Dear ch;.rn)int5 nyinpli, neL'lected and deiiy'd, 
 My flianie in cr<iuJs, my folitary pride ! 
 Thou fource of all my blif>, and all my v.-oc, 
 Ihou found'll nu: poor it firft, and keep'll 
 me fo i 
 
 T 2 Thou
 
 292 CRITICAL ESSAYS. 
 
 Thou guide by which the nobler art*: rxccll, 
 Thou nurfc of every virtue, fare thcc well \ 
 P'arcwell — and O where'er thy voice be trlc<^, 
 On TornoN clitf>, or Panibamarca's fide ; 
 tf^hetlur where equ'in'Jltal ftrvzun ghiv^ 
 Or ninter urupt the ps'.ar iv^rli inJn-jW \ 
 Still lit thy vci:e prevaUing cvtr tirit-y 
 Rtdreji the rhour cf th^nulnntnt c'nr.e ; 
 Aid fliyhtctl truth wit!i thy pcrfwafive ftr.iin. 
 Teach erring man to fjnirn the rage of train ; 
 Teach him ihut flatts of native ftreni^th poHK', 
 Though very poor, may yet be very bieft ; 
 That trade's proud empire haftes to fwift decay, 
 As ocean fvvecps tlic labour'd mr-le awav j 
 \N'hile fch-dcpeiulent power can time iiufv^ 
 As rocks refift the billows and the fky. 
 
 This is a fine pallligc, but it would ad- 
 mit of improvement : the firft couplet, 
 
 * Even noii\ (^c' is little better than an 
 abfurdity ; the dcvaftation is * hegun^' 
 and ' bill f done f at the fame time. The 
 connciSlion with the prccceding quota- 
 tion, wouU have been better, if thofe two 
 lines had been omitted, and the third 
 line had begun thus, * JFith thoiiy cV.' 
 
 * The anchor d vcffc/y with its * fiJpp'f'^ \
 
 CRITICAL ESSAYS. 293 
 
 * fijilf is a natural and beautiful image. 
 The aildrcfs to Poetry has a noble cn- 
 thufufm, but wants correctncfs : the 
 lines in italitks, * (//;/// //; tbifc dcgene- 
 
 * rate, (^c,' miglit have been fparcti ; 
 
 * Strike for homj} fame y is an unmean- 
 ing phrafe, nearly allied to nonllnfe; 
 and what alTinity the circumllancc of the 
 voice of Poetry * prevailing over time,' 
 can have with the circuniftance of its 
 
 * redrefjiug the rigour of a climate^ is not 
 obvioub. I am not one of thofe who 
 difcover even a cafual imitation in every 
 refemblance ; but polTibly the ideas of 
 two former writers might have * re-" 
 ' murmured' in our poet's * memorial 
 
 * cell,' when he wrote thefe lines. Pre- 
 fixed to Pope's works are feveral com- 
 plimentary copies of verfes, in one of 
 which, the author fpeaking of the Aory 
 of Lodona, fays. 
 
 The fofl complaint fliall over liir.c prevail. 
 
 And Gray, in his progrefs of poetry, has 
 T 3 In 
 
 the following :
 
 294 CRITICAL ESSAYS. 
 
 In climes beyond the folar roic!, 
 
 Where fliaggy forms o'er ice-built mountair.x 
 
 roam. 
 The mufc has broke the twilight gloom 
 
 Tochcar thc(hivering native's dull abode. 
 
 The Defcrtcd village, as has been hint- 
 ed, is, on the whole, a performance of 
 great merit ; it has numerous excellen- 
 cies, and numerous faults ; and while wc 
 arc charmed with the former, we cannot 
 but regret that more pains was not 
 taken to avoid the latter. 
 
 T 3 ESSAY
 
 ( 295 ) 
 
 ESSAY IX. 
 
 On Thomson's Seasons. 
 
 GENERAL Crlticlfm can fay little 
 of the Seasons, that has not 
 been faid already. The ingenious Mr. 
 Aikin, in the Effay prefixed to his edi- 
 tion, has explained their plan and cha- 
 racfler; and to Dr. Johnfon's opinion of 
 them, there is no great reafon to obje(5t. 
 Particular criticifni cannot be cxpeded to 
 purfue her talk regularly, througli a 
 Poem of fuch length ; but the exami- 
 nation of fome detached paflages, will 
 perhaps fuHiciently point out the nature 
 of its beauties and defeds. 
 
 T 4 Thomfon
 
 296 CRITICAL ESSAYS. 
 
 Thomfon ohfcrved clofelv, and de- 
 fcribcd forcibly. lie fclJom diftrads 
 the reader's attention by the introduc- ^ 
 tion of heterogenous ideas ; he has few 
 fimilies, and few allufions ; but he errs, 
 by endeavouring to imprcfs his fubje<ft 
 on the mind, with a pomp and redupli- 
 cation of cxpreflion. lie often, in at- 
 tempting energy and dignity, produces 
 bombaft and obfcurity ; and in avoiding 
 mcanncfs, becomes guilty of aft'edlation. 
 His langu.ige Is indeed a kind of anamo- 
 ly, for which he had no example, and 
 which it would not be cafy to imitate. 
 
 The country wears one of its mod 
 beautiful appearances, when the orchards 
 and hedges are in bloflbm ; this he de- I 
 fcribcs as follows : 
 
 •I purfuc my walk. 
 
 And fcc the country far-diffusM around. 
 
 One boundlcf> blulh, one rchite-i/n^urpUd Jhsii. r 
 
 Of mingled blofi'oms i where the rapturMcyc 
 
 Hurries
 
 CRITICAL ESSAYS. 297 
 
 Hurries from joy to pv, an J hid bciK-atli 
 The fair profufion, ytliitv autumn fpics. 
 
 This pafTage gives a general confufcd 
 idea of the fubjtcfl, but they arc extreme- 
 ly deficient in corrednefs. To term the 
 country a * bdundlcfi hluJJ:,' becaufe it is 
 covered with trees in bloom, however 
 bold, is pcrliaps jurtifiablc ; but to term 
 that country a * ichite empurpled Jho'^cr^ 
 becaufe the trees h.ivc llied their blolloms, 
 is furely rather too violent. That the 
 raptured eye luirried from place to place, 
 might have been faid properly ; but to 
 fiiy it hurried from * jc^y to *joy* when 
 nothing o^ joy had been prcvioufly men- 
 tioned, fecms carrying figurative language 
 almoil toabfurdity.* He who fees trees 
 in bloom, mufl naturally fuppofe that 
 they will bear fruit, and his imagina- 
 tion may behold them fraught with it; 
 but his eye may look in vain among the 
 
 • The Author meant undoublcJIy, the placcj or prof- 
 ped» ihal afforded y''^ ox fle.ifure. 
 
 blofibms.
 
 298 CRITICAL ESSAYS. 
 
 bloflbms, to Jpy the poetical pcrfon au- 
 tumn. TlicTc is bcfides fomcthing whim- 
 fical, if not ludicrous, in the fuppofcd 
 concealment and difcovcry of the iniper- 
 fonatcd fcafon. 
 
 Our poet's pi(flure of tlie approach and 
 dcfcentofa * icnidl /l:o-^i\'ry is one of 
 his capital pieces. It is a fair fpeciinen 
 of his general manner; its beauties and 
 defc(fls arc fo intermixed, that it is no 
 cafy matter to feparate them. 
 
 • ■ ■ Gratloal fmks the breeze 
 
 Into a pcrfftft culm ; that not abrculi, 
 Is heard to cjui\tT tlirou^h the chf:>:^ \\\x)cls, 
 Or nifhing hum the rrii'iy-iivinHni^ * lc;;\cs 
 Of afpin tall. Tl-.c uncurling fifK>J>, iliiTi>'ii 
 In glaffy brcnth, f.tm thriu-h lUIufrji- tapfe 
 Firgftful of their Cjurff. 'I"is filcnce all, 
 And plcafuig expectation. Herds and flocks 
 Drop the dry Tprig, and rKuti--irnphri7i^, (y 
 
 • Gray has been ccnfured for the ufe of this com- 
 pound nany-fMinkltng, but his cenfurer'; have not re- 
 marked that Thomfon had ufcd it before him.
 
 J 
 
 CRITICAL ESSAYS. 299 
 
 The fiill.r.g vnJurc. HiifliM in fluirt fiifiKiifc, 
 Th"pluiny people ,//'v..'^ tli'ir '.lin^s xvlth cil^ 
 To throw the lu.ll m-Jjlutt- u\\:k\\ivz. <^^\ 
 And unit thc.ipproachin^^ figii to ftriLcat onrc 
 Into ilic gcniT.il choir. K\ 'n nuKU-.t.iins, v.i!cs, 
 And foulU,y^ (•//;, im^tittiHfy to ikniunJ 
 The f-t .■•r.is'dfuvftnrj's. Man^fujK-rior walks 
 AniiJ the gl-id cre.iticjn, niufin^ praile, 
 And livjlcin^ !i\ely gratitude. At l.;i}, 
 'i'hc clouds confi^^n tiicir trcUiires to the fields j 
 And ("u!";ly-ni ikin;; on the dimpled |m>()I, 
 Preliir.vc drop> Ut ii.'i tf.tir r/::i'!urejI;:Cy 
 Ik Ur^t (jfnp-.n o\r C> i j'ujhcnu ii'.i'.iL 
 
 There are here two kinds of clrciim- 
 ftances, one ^dually txillcnt in nature, 
 and one tlie prodin^t of the I*oct\s ini.igi- 
 nation. The calm is of the firll fort, 
 and is forcibly expreniil by tfic qiiief- 
 cence of the afpin, and the glalh n-jf^ of 
 the water. The * Jloods Jlrnu'ng/'^rgcfJ'ul 
 * cf their coiirjcy is of the fccc^id, and 
 might be an allowable hyperbole ; but 
 in the prefent cafe, it wants propriety. 
 A poetical mind too feldom thinks with 
 prccifion ; imagination is apt to act 
 
 without
 
 300 CRITICAL ESSAYS. 
 
 without judgment, and confound on 2 
 objc<fl with another. The floods could 
 not fccm * J or get fill of their courfc,' for 
 their courfc was not l^opped. On the 
 ccfl*ation of the wind, the curl or undu- 
 lation on the furfnce would ceafc, hut 
 the motion of the current would not ba 
 dcftroycd. When the gale funk, a pool 
 would become fmooth ; but a river which 
 run before, would run (lill, and with 
 the fame velocity.* To f.iy that the 
 floods fcem forgetful of their courfe, 
 
 * through ddiijhc lupjl'i is to talknon- 
 fenfe. The * h:rJs and the Jl.chs drop- 
 
 * ping the dry fprlg* may polVihly be a 
 natural a«5iion ; nor may it he deemed 
 too bold to reprefent them as * implor- 
 
 * trig the coming f.oiver ;' but it is cer- 
 tainly too violent an anticipation to 
 
 • Thomfon fcems to have caught his idea from a very 
 gentle ftrcam, which, in a calm, would appear totally 
 fmooth; but even fuch a ftrcam would have a tcurJe,OT 
 current, which it confcijucnlly coulj not be proper- 
 ly faid vofrgt:. 
 
 make
 
 CRITICAL ESSAYS. 301 
 
 make them * eye cr z-iezv that Jhon-er as 
 
 * Jallingy before it began to fill. It is 
 alio as violent a lulillitiition of eil'ec'l for 
 caufe, to call the rain * ^jinlure ,' and 
 worfe rtill, by the aildilion of a previous 
 and totally inapplieable epithet, to term 
 it * fulling i-eri/ure.' Faney fecms in- 
 deed here to have run wild; ihe fiip- 
 pofes that the * birds' implore the rain, 
 and at the fame time fee it * fiiUing-,' 
 2iV\di inui glue \\\^\ fee in it the green co- 
 lour^ whieh will, in confequence of it, 
 cover their future pjftures. How far 
 the affair of the birds moiftening 
 their plumage with nn oleaginous mat- 
 ter, or in our author's words, *Jlreak- 
 
 * ing their ivings leith oily is a fact, I 
 pretend not to determine. The cir- 
 cumftance of the * mount ains^ for ejls^ ^c. 
 
 * feeming impatient for the rain^ ' if not 
 too poetically bold, is at leafl mifplaced ; 
 it (hould have immediately followed that 
 of * the rivers feeming forgetful of their 
 ' courf'i tlie proccfs would then have been, 
 
 from
 
 302 CRITICAL ESSAYS. 
 
 from inanimate to animate matter, from 
 water and carlli, to birds, beads, and man ; 
 this would have been a climax. The 
 
 * prelufrje drops on the dimpled pool, is a 
 beautiful flroke; but it was unnecefTary 
 to fay, firft, that * The clouds confign their 
 
 * trcjjjures to the fields f'*^ and next, that 
 they * let ell their vioijlure Jloiv in large 
 
 * ^J^i/^^f^ ^^^ theJ'reJJjen'd li'orUL' 
 
 The ftciilin^ fliowcr Is fci'.rcc tr,p/itttr hearJ, 
 By fuch as v.auJor tl.rou^h ihc fordi \valk=, 
 Ijcncath the umbrageous multitude of leaves. 
 But who ca.n hold the fiud.', vvlien hiann d:- 
 
 fcerJi 
 In uiiiverfal bounty, fi)<:cl.i'v:g hivli 
 And fru'iti unJ JiALfrs on n.itiire*s ample lap ? 
 Swift fancy y?r\/, anticipates their growth; 
 And wh!Ie the mH'y uutrlnur.t il\^\\\>^ 
 Behc'lJs the iindi'iiij country ci.'mr round. 
 
 There is nature in the firil three lines of 
 the above, but an unnatural affedtation 
 
 • This line, confidcrcd in itfclf, has great merit. The 
 oppoGtion between the (l.iui'f and the /.ei'ds, and the tranf- 
 miflion of the rain from the forni'.Tto the latter, are idcis 
 well conceived and cxprcJled. 
 
 in
 
 CRITICAL ESSAYS. 303 
 
 in the reft. Walking under t/juk trees 
 in a vernal rain, which docs not pene- 
 trate, is certainly very pleafant ; but 
 walkino: abroad even in fuch a rain, 
 would hardly be agreeable enough to 
 produce fine reveries on the prolped of 
 plenty. This paffage alfo is verbofe and 
 affeded ; * Fancy is f.r'dy the country 
 ' * kindlcSf iyc' the thought fnnply e.v- 
 prelfed, is this; that heaven in flied- 
 ding the rain, flieds herbs and Hov/ers ; 
 ^c. and that fancy anticipates tlieir 
 growth, and beholds the country cover- 
 ed with them. 
 
 Where a fubjedt occupies any confide- 
 rable number of linej;, it is commonly 
 ncccffary to mention it repeatedly, ei- 
 ther in the fame terms, or in others. 
 The permitting one word to recur fre- 
 quently, has been juflly termed a fio- 
 i venly pradlce ; and writers, to avoid it, 
 often have recourfe to a kind of me- 
 tonymical, or rather catachrellic;'.! ex- 
 
 prellions,
 
 304 CRITICAL ESSAYS. 
 
 prcflions, which are moftly either impro- 
 per or inelegant. Thomfon has a great 
 number of thcfc quaint phrafes of his 
 own connrudion. The reader mufl 
 have obfcrved, that in the two immedi- 
 ately preceding paflagcs, the fingle cir- 
 cumflancc of rain, is defcribcd by no 
 lefs than fcven different appellations; it 
 is called ^ JaUiug "verdure ^ * lucid moi- 
 
 * Jlure, * promised fueetfitfs,* * trenfures 
 
 * of the clouds,' * heaven defc ending in 
 
 * wiiverfal bounty , * fruits and foiiers, 
 and laftly, * milky Jiutriment* 
 
 Thus all day long the full-dirtcmkil clouds. 
 Indulge their genial ftorcs* and wcll-fhywcr'd 
 
 earth 
 Is derp-enr'uh'd with vegetable life ; 
 Till in the weftern fky \\\<: drj.uu.ard fun 
 Looks out effulgent from amid the f.uj}} 
 Of broken clouds, gay-fliifting to his beam. 
 The rapid radiance inftar.tanecus ftrikes ; 
 The illumin'd mountains through the forcft 
 
 fl reams. 
 Shakes on the floods, and in a yellow mifl 
 Far finoaking o'er the interminable plain. 
 In rwuikling m}Tlad,> lights the dewy gems.
 
 CRITICAL ESSAYS. 305 
 
 Mo'iji^ bright^ anJ gruriy tlic bmlfcajx: lau^ht 
 
 around ; 
 Full fivc'.l the XLO:.is, /h:r every mufic uutkcSj 
 Mix'din wild concert with the warbling brooks 
 Incrca-)'d, t!ic diftant bicatings of the hills. 
 The hilloiv Ions rcfponfiNc from the vales, 
 Whence blending all tlie jViicetetid /cphir 
 
 fprings. 
 
 That a mind fully poficlTcd of its fubjcd, 
 riiould aim to cxprcfs it in every pof- 
 fible method, is natural ; confcqucntly 
 one cannot wondcT at finding in poetry, 
 fuch frequent reiteration of the fame 
 ideas in ditTerent exprefiions. The wri- 
 ter may experience no difguil from this 
 redundance, but the reader muft ; for 
 he has conceived tlic thought, and wiHics 
 not to dwell upon it, but to quit it for 
 another. This is generally the cafe, but 
 not condantly ; repetition fometimes 
 pleafes. Our author had defcanted large- 
 ly on his vernal rain ; but he introducer, 
 it here a;;aln, * T^hus all day Lng^ ^c' 
 with much dignity and cafe. This paf- 
 l^ fagc
 
 \/ 
 
 306 CRITICAL ESSAYS. 
 
 fage has great merit ; nothing can be 
 more natural and pidurcfquc, than the 
 images of the * fun JJ:ining from among 
 
 * the brokaickudsy and his radiance Jlrik- 
 
 * ing on the tnountain^ Jlr earning through 
 
 * the forcjly trembling on the ''Ji^ater, 
 
 * fmoaking \\\ i\\Q yelhii) mijiy Vin<\ glitter- 
 
 * ing on tbe drops of rain,' There is a 
 confufion, and contrariety of ideas in 
 thccircumflance of the * land/cape laugh- 
 
 * ing:* the verb * laughs'* rather indi- 
 cates a poetical perfon ; but the epithets 
 round y tnoijty bright ^ and green ^ are only 
 compatible with a natural objccft. * Full 
 
 * Jwell the li'oodsy* is an aukward phrafe, 
 whofe meaning can fcarccly be dif- 
 covered; and * Their every mujic li^akes^' 
 is but little better. Thofe who are cu- 
 
 • The human countenance, when fmiling, is beheld 
 with complacence ; ami by a catachrcfis, or inverfion, 3 
 fine profpcft, which ib agreeable to the eye, is faid n 
 
 * /milt ;* but the word ♦ luugh,^ however authorized, 
 iitoo ilron^, and muH convey a perfonal idea. 
 
 riou*
 
 CRITICAL ESSAYS. 307 
 
 rious in found, will be difgudcd with 
 the cacophony in * holloij ions.* The 
 
 * -zcph-r may be properly faid to * bknd^ 
 or minizle, the various noifesj but 
 why that * ziphir Hiould be faid to 
 
 * fpringy particularly * Jroin the va/:s/ 
 and why it Hiould be faid to be * fucct-' 
 
 * t'.vV,' arc quellions which it is natural 
 to alh, but pofiibly tlicy could not be 
 eafily anfwcrcd. 
 
 Tlie aniufcnicnt of an idling has been 
 generally regarded a^ a diverfion, not 
 only inottenfive in itklf, but alfo fa- 
 vourable to the meditations of the phi- . 
 lofophical and religious. Perhaps, how- 
 ever, it might be dillicult to reconcile 
 with the idea of moral reditudc, the idea 
 of pleafure obtained by the punifliment 
 of innocent being;.* The attention of 
 
 • ThiiConfiJeration apart, the amuf-rmcnt might bo, 
 in fomc rcfpcfts, agrccu.blc, and dcfcriptionj of it 
 generally plcafc ; wiinefi that engaging book, Wal- 
 ton's Complete Angler, and Mr. Mojti DuowNs't 
 truly poetical Pifca;ory Ecloguei. 
 
 U 2 an
 
 3o8 CRITICAL ESSAYS. 
 
 an angler will alfo be too anxloufly cm- 
 ployed on the objc<fl he is endeavour- 
 ing to procure, to admit the excrcifc 
 of his mental powers on dimmilar fub- 
 jc<fls. Of this amufemcnt, Thomfon 
 has given a defcription full of mafterly 
 Arokes ; a defcription, which Hicws that 
 h.e muft cither have pradifcd it himfclf, 
 or attended very clofely on the pradicc 
 of it by others. 
 
 Now when the firft foul torrci.t of thcbro<;>Ic«, 
 Swcll'd with the vtrn;il rai;j>, iscbb'd a.v.iy ; 
 And whitening:, down their miJJy-tlnSlur'ii 
 
 llrcam 
 Dcfcendsthc billowy for.m ; now ii the timr. 
 While yet the dark-brown water aitU the iriiilc, 
 To t^mf-t Iff trout. The well diHemblcJ fly, 
 The rod fine-tapering with fla,:ic fl>rin^^ 
 Snatch' J from the- hoary Jiad thf fating lir.f^ 
 And all t'ry JiinJtr wutnyjlores prtpurc. 
 
 The proper fcafon for the fport, and the 
 implements rcquifite for it, arc here de- 
 tailed with a moft ftriking particularity, 
 though not with the grcateft corrcdncfs 
 
 of
 
 CRITICAL ESSAYS. 
 
 309 
 
 of language. The compound * fftojfy^ 
 
 * tincIurJ^' fc'cms improperly introdu- 
 ced ; one Hiould fuppufc it was deligned 
 to convey the idea of a green ifh colour, 
 but \vc are told, that the water is * Jurk- 
 
 * broiL'n,' * To tempt the trout,' is pro- 
 faick. The * ivcll-dijj'cmbkd Jly , is fim- 
 plc and juft ; and the * rod Jine tapering 
 
 * liith chijlic Jpring,' is cxprelTive ; but 
 to have mentioned the * Jkat'ing line,' 
 would furely have been fuHicient, with- 
 out intimating that it was made of white 
 horfe-Iiair ; and that in a manner fo ob- 
 fcure, ' Snatch' dj'rcm the hoary Jleed, lf:c* 
 that, if the circumflance was not ge- 
 nerally known, the verfe would be un- 
 intelligible. The next line is an ex- 
 crefccnce; it is not ealy to guefs what 
 
 * other Jlender ii\itry Jlores, were intend- 
 ed for preparation. 
 
 But let not on thy hook the tortur'il worm, 
 Com ulfivf, twifl in a^oIli^i^:; folus ; 
 Which by rapatiouN hunger fwallou-M ilccp. 
 Gives as you tear it from the blcciiiii^ brcaft 
 U 3 Of
 
 310 CRITICAL ESSAYS. 
 
 Of the weak lulplcfs uncomplaining \\T»lch» 
 HaHh pain, and horror to the tciulcr hand. 
 
 The nian of humanity, who reads this,, 
 however fondof fidiing he may bo, will 
 furely never impale a worm again. The 
 picflurc is indeed drawn with fuch force, 
 as almoft to fliock. imagination. 
 
 High to their fount, this j.-y aniiJ the hills 
 And woodlanils waiblini; round,! trace up tlie 
 
 brooks i 
 The next purf.ic their rr.cky chanc ii'u m.r/c 
 Down to the rivcr>, in vvhofc ample umvc 
 Their little naiads lovetofport at lar^j,c. 
 Juft in the dubious point, whirc- with the pool 
 Is mix'd the trcmh'lintj flrc.itn, or where it 
 
 boils 
 Around the fione, or from tlic I;- Uow'd hank 
 Reverted plays in tmdulatini; /fiU', 
 There throw nice-jtidging the dclufivc Hy j 
 
 ■f • H'''a'JlanJs 'warhling reunJ.* Thi^ is an inftanct 
 of poetical boldncfs, without impropriety : the ivcdj 
 are, without any great viole-nce, fubilitutcd for the 
 kirit who inhabit them. 
 
 And
 
 CRITICAL ESSAYS. 311 
 
 And as you lead it round i:i artful curve. 
 With eyc-attcntivc mark the fpringing i^amc. 
 
 The Poet has here defcribcJ the places 
 proper for angling, with uncommon ac- 
 curacy; our fancy is delighted with his 
 
 * bills and li'oods* and * rocky channdl'd 
 
 * brooks ;' and a painter could rot have 
 given a water fcene, with all its minute 
 divcrfities, more exadly than he has in 
 his * pool mixing '■jjitb tbc Jlrcam^' and his 
 
 * Jlream boiling around tbejionc,' or * re- 
 ' verted from tbe bolloii; bank.' 
 
 Strait as above the furf^cc of the flcoJ 
 They wanton rife, or ur;^'d by hui-.g'.r leap. 
 Then fix, with gentle twitch, the barbed 
 
 hook : 
 Some lightly- tofling to the gralTv bank. 
 And tothcfhclvincr fhore flow-drai'^iin': (bmc. 
 With various hand proportion'd to their force. 
 
 The motions of the fiili, and the opera- 
 tions of the angler, arc here detailed 
 \vith wonderful precifion. The com- 
 U 4 pound
 
 312 CRITICAL ESSAYS. 
 
 pound epithets, ' lightly tojfmg* * Jlo'-jf- 
 * ^^^Zg^^g* are ftrikingly exprclTivc of 
 the a(ftions ; but fonie m.iy think them 
 wanting in poetical dignity. 
 
 If yet too young, and czftly dccc'v'd, 
 A worthlcfs prey frarce bends your pliant red, 
 Him ///(•;; j/i cf hti ycnthy c.r.ii the fi zrl j^a:c 
 He has fnJTy'd the vital li^ht of htaver.y 
 Soft difcniizgc, and back into the ftrtam 
 I'hv/pfcUid infiint throw.* 
 
 The praife bcflowed on the preceding 
 pafKige, cannot be juflly given to this. 
 There is in it an attempt at dignity above 
 the occafion. Pathos llems to have been 
 intended, but aficdation only is produced. 
 
 -But fhould you lure 
 
 From his dirk haunts, beneath the tan;:!- 1 
 
 roots 
 Of pendent trees, the monarch of thic brook, 
 
 • The paflage {lands thus in fome of the common edi- 
 tions. Mr. AiKl.H reads ' /feckhJ eaftiir.' 
 
 Behoves
 
 CRITICAL ESSAYS. 313 
 
 Behoves you then to ply )our fimfl art. 
 Longtime he following cautious fcans the fly. 
 And of: atti.mpt> to fcizc It ; but a<; oft 
 Thcdiinplcif water r,.CMiCs hiN jealous Icar. 
 At laft while haply o'er tiu- ftiaded fun 
 Paflcs a cloud, he difpcrate takes thi utath 
 With fullcn plunge. At r.r.ce he darts along, 
 Dcep-ftruck, and runs out all the lengthen'^ 
 
 line; 
 Then fcek? the farth.cft ooze, the fhelrcring wctd. 
 The cavcrii'd bank, his old fecurc ubode ; 
 And flies aloft, and fiyunccs rour.dthe pool, 
 InJi^r.ant of thf ^u'fu-. With yielding hand 
 That feel.^ him Itiil, yet to his furious courfc 
 Gives way, you, now retiring, following nuw 
 Acrofs the ftream,e\h lufl his idle rage ; 
 Till floating broad upon his breathlefs fide, 
 And t^ hii faU ulc.n.i:n;\ to the flioic 
 You gcUy drag your unrefifting prize. 
 
 This is a remarkable inftancc of tliat 
 poetry, which can ** turn re.iJcrs into 
 ** fpe<flators." The whole procefs of 
 catching a large fiHi, is defcribed in the 
 mofl explicit and judicious manner; 
 but the language is in feme few inftances 
 exceptionable. 
 
 Thorn fon's
 
 314 CRITICAL ESSAYS. 
 
 Thomfon's account of the different 
 fituations, chofcn by different birds for 
 their nefts, demonftrates the clofert; ob- 
 fervations of nature; but the language 
 has his ufual inequality : 
 
 Some to the holly hedge 
 
 Kejlling repair, anJ t<> the thickfct fome; 
 
 Some to the rude protccliori of the thorn 
 
 Commit their fctblc offspring. The cleft tree 
 
 OfTcrs its kind concealment to a few, 
 
 Their food its infe«5l<, and its mofs their r.efts. 
 
 Others apart far in the grafTy dale, 
 
 Or YGUihoung unfle their hwnilc texture 
 
 weave. 
 Butmoflin woodland fMitudcs delight. 
 In unfrequented glooms, or fhady banks. 
 Steep, and divided by a bubbling brock, 
 Whofc murmurs footh tliem all the livelong 
 
 day. 
 When by kind duty fix'd. Among tlie roots 
 Of hazel, pendent o'er the plaintive ftrcam, 
 They frame the firft foundation of their ilomiS ; 
 Dry fprigs of trees in artful fabrick laid. 
 And bound with clay together. Now 'tis 
 
 nought 
 But rcftlefs hurry through the hufy air, 
 
 Beit
 
 CRITICAL ESSAYS. 315 
 
 Jkat by ur.r.umbcr'd wings. The fwa'.low 
 
 fv.ccps 
 The flimv pool, to build his hanging hnutc 
 Intent. Ai't! often froni the urcljs baclcs 
 Of herds :-.:.jn<Kk>-, a ti.oufanJ tirigln;; oills, 
 Pluck hair an.! wool ; atu! oft, when unobftrx'J, 
 Steal fntn tl,: i\:rn ajltu:i : tu'.J.ft a'ul uar:t:^ 
 Cltciiy and amplttiy thur hu'itatun ^tmj. 
 
 Some Criticks have fiippofcd, that poe- 
 try can only deal in generals ; or in other 
 J words, that it cannot fiihrill witli any 
 very minute Ipecihcation of particulars. 
 To fuch, this palTa^e migiit he well 
 produced as a proof, that their opinion is 
 erroneous. That poetical power, which,, 
 in Homer, tranlports us to tlic hanks of 
 Simcis, and Hiews us the fliicld of Achil- 
 les, or the cafque of Hedor ; and in 
 Virgil, fets before us the lierdlhian, 
 * who feebly drag^'d his goat along;' 
 the vine-pruner finging at his labour up- 
 on the rocks, and even the fmoaky raft- 
 ers of a cottage; that power here con- 
 veys us to the woodland's remoteil: 
 
 rcccfles.
 
 ^)6 CRITICAL ESSAYS. 
 
 recedes, among the Hiaggy banks, 
 and hazel roots, proje<fting over the 
 gurgling rills, where the feather'd race 
 are building their habitations. The no- 
 tation of time is always pleafing ; there 
 is fomething finely romantick in the 
 idea of the birds being foothcd with the 
 murmurs of the brook * a// the Ihelong 
 ' day* The whole, however, concludes 
 with an anticlimax : when wc are told 
 of * jleiilingfrom the barn ajlraii^,' how- 
 ever natural may be the adion defcribcd 
 by that exprcflion, the cxprcfTion itfelf 
 is a wretched profaifm. * Clean andcom- 
 
 * tlcte, alfo, is little better than * clean 
 
 * and tight ;* the dilution of a houfe- 
 maid or a char- woman. 
 
 The defcription of Ilaglcy Park, and 
 its profpe<fls, has a remarkable mixture 
 of beauties and faults : 
 
 O L)ttlcton, the fiienJ ! tJ y pafTions thus 
 And mciiitaiions \.:r), as at large 
 
 Courtlii:^
 
 CRITICAL ESSAYS. 317 
 
 Courting the Ntufo, throu-h Ha;^lcy V.xik jm 
 
 ftray 
 Thy Kritifli Tcmpc : there al«)ng the dale, 
 With woods o'crhung, and Ihagg'J with niofly 
 
 rock?, 
 AVhtncc on each hand the gufliing waters play. 
 Or down th'" rough cafe.ide whitc-d.-ifhing fall. 
 Or gleam in Icngthcn'd vifta through the trees, 
 Tiu {\\cnt Jhi! I ; or fit beneath the fliade 
 Of folcmn oaks, that tutt the fwellir.g mounts. 
 Thrown graceful round l>y nature's cardefs 
 
 hand, 
 And pcnfive liftcn to tlic various voice 
 Of rural jK-ace : the herds, the flock^^, the birds ; 
 Thehollow-wliifp'ring brrc/<-, tht plaint of rill'^ 
 'Ihat purling down amid the twiHed ro'Ks 
 'I hat creep around, tht-ir </iiLy n.urr'iursjlale 
 On the footh'd ear. ■ 
 
 This pidurc, though generally dcfcrlp- 
 . / tive, is not locally peculiar. Many or- 
 namented grounds have their * dales 
 
 * overhung "jiitb ivoods^' and * Jhaggcd 
 
 * li'ith rocks ;' their fuddling mounts 
 croivnd with oaks, and their waters 
 foiling in foa?ny cafcades^ or Jhinirig in. 
 perfpeclive among the trees. That com- 
 
 moQ
 
 3i8 CRITICAL ESSAYS. 
 
 mon blcmifli in poetry, a change of pcr- 
 fon from finguhr to plural, and vice "jerja, 
 is here very difagreeably inflanced ; 
 
 * T/.>jf fajjions — you Jiray — thy Britifi 
 
 * Tempc, &c.* The language (liould have 
 bee n u n i fo r ni , * ^(3 //;• pajjhns — youjlray^ — 
 
 * 6ff.' * The "jarlous voice of rural peace,' 
 is highly exceptionable : Peace and 
 noife are conlradidory ideas. Peace 
 fecms here to be pcrfonificd, and a de- 
 ficiency of judgment is Arikingly be- 
 trayed, in attributing to her a * voice Jb 
 
 * various,* as the * loiuifig of herds,' the 
 
 * bleating cf fecks,' and the * found of 
 
 * li'inds and li'aters.' To call the curs- 
 ling of rills a * plaint,' is boldly poeti- 
 cal i but to call it in the fame fentencc, 
 
 * de'u^y murmurs^ is a redundancy. 
 
 * Dewy murmurs,' is a vicious exprelTion : 
 the epithet * deny,' can relate only to 
 an obje<ft of feeling or fight, confequent- 
 ly it is abfurdly joined with ^murmurs,' 
 an obje(fl only of hearing . 
 
 Mean time
 
 CRITICAL ESSAYS. 319 
 
 Mean time you gain the height from whofc 
 
 fair brow, 
 The burftiiig profpt-ft fprcads immcnfc arounJ: 
 And ftiatch'do'ci hill anJ daJc, and wood and 
 
 lawn, 
 And verdant field, and dark'ning heath be- 
 tween, 
 And villages embofom'd foft In trees,* 
 And fpiry towns by furging columns marJc'J 
 Of houfhoid fmolcf, y::*r ty excurfii'e reams : 
 Wide ilrctching from the hall, in uf.c/c kifid 
 
 haunt 
 The hofpltable Genius lingers ftill. 
 To where the broken landl'capc, by degrees, 
 Afccnding, roughens into rigid hills; 
 O'er which the Cambrian mountains, like far 
 
 clouds 
 That flcirt the blue horizon, dufky rife. \ 
 
 • Milton firll introduced this beautiful image : 
 
 Towers and battlements it (ca, 
 Bofom'd deep in tufted trcct. 
 
 f The Author of thefc obfcrvations was once on the 
 Lill behind Haglcy I'ark, and viewed this profpcil. Per- 
 haps few places in our own country, afford fuch a noble 
 afTcmblagc of natural objefts; among others, the fub- 
 limc coDVCX of the Wrekin, and the enormou j rocky 
 
 wall
 
 320 CRITICAL ESSAYS. 
 
 This dcfcriptlon has great force. To a 
 perfon who has not fcen the view it dc- 
 fcribcs, it will convey a general, grand, 
 and pleafing idea ; to one w ho has fccn 
 that view, it will inilantly recall its par- 
 ticular beauties. But the lani'uase is 
 here again incorre(fl. * SnatciyJ,' is fu- 
 pcrfluous and abfurd ; for who would 
 talk of * Jnatch'uig an eyef'* It is alfo 
 
 placed 
 
 wall of Malvern, with great part of the counties of Sa- 
 lop, Worcefler, and Hereford, &c. ber.e-th them. The 
 day was cloudy, and he could not for fomc lime dillin- 
 guilh the Welch mountainj from the clouds. He knew 
 that fcencs cf ihii kind arc not to be fcen in an inrtant ; 
 and continued looking at the point he was directed to, 
 through a good telefcope : while all near hand remained 
 anillumined, the fun broke out at an immenfe dillance ; 
 objefls, before in confufton, became dillind and beau- 
 tiful; he faw the mountains in their various pofitions, 
 (hapes, and colours, glowing with brightnefs, and waj 
 teady to fancy them the regions of another world. 
 
 • Ilis a circumftance that cannot have efcaped no- 
 tice, that mod authors have their favourite words, which 
 they arc apt to inuoducc loo often. There fcems a na- 
 tural
 
 CRITICAL ESSAYS. 321 
 
 placed at fuch a diftancc from the verb 
 
 * roams,' with which it inuft connect, 
 in order to favc the period from being 
 nonfcnl'e ; that the reader at hrll does 
 not perceive the connexion. The ad- 
 je(ftivc * excurjive,' and the compound, 
 
 * 'u:icle-/lrctcbingf' are ahb fupernumera- 
 ries. The fentence placed in its natu- 
 ral order, will read thus : * Your eye 
 
 * f/uitciyd over hill and dale, &c. ro.:ms 
 
 * excurfivCf ivtilc-jlrctcbirg from, kS,c.* 
 Blank verle, where huh violent tranf- 
 politions and uimceefiary epithets are 
 ufed, iurely is nt)t unjulUy aecufed of 
 obfeurity. TIic * hiru! haunt' of the 
 
 tur..l inclination to commit this fault, and I hnvc perhaps 
 fomctimci committed it myfclf, though it has difguft- 
 ed nic in the works of others. I have alrcatly remark- 
 ed, that CIlldsmith, in his Dcfcrted Vill.ige, haj 
 ufcd the fubllantivc, * Sfnit,* and the adjective, 'ywf^.'/ 
 to ancxccfi. Thomfon fcemcd to have apredilciliun for 
 this wcrd ' jnr.ti.h\-. ;* his filhing line is ' fnatcfj'd fii.m the 
 ' h cry ft: A.* Spring, line 384, lias been noticed ; and 
 in line 516, he talks of ^ fruit ding a hurrit.l tyi thr».,gh 
 
 * a 'vtrdant maze.' He once ufcs it properly : Tve k f 
 
 * fnalch'J fjjfjfr.m tht fdiLig naiJ.' Winter, 1. 6:5. 
 
 X hall.
 
 322 CRITICAL ESSAYS. 
 
 hall, is a nccdlcfs pcriphrafis; it was 
 fufliticnt to fay of the hall, that the 
 * boj'pit able genius' lingered in it. 
 
 The dcfcriptlon of Hay-making de- 
 mands particular attention : 
 
 V, 331. Ni>w fu-arms tl'c village o'er the jovial mead : 
 The ruhic youth brown with meridian toil, 
 Healthful and ftrong \ full a^ thefumnu-r rofc 
 ]Mov.*nbv T< V :Ilinj: funs, the ruJdy maid. 
 Half nak.>J, iv.tili.igoii the fight, and all 
 Htr }'<ndled graccilurnhig o\-r /:,r chitk, 
 Ev'm ii« op" j^ a^c is here ; and infant hand'> 
 Trail tliL- long rale, or with the flagrant load 
 O'tT charg'd amid the ktnd cppr.Jfwn roll. 
 Wide flies the ttilJeJ grain ; all in a row 
 Advancing broad, or wheeling round tlie field, 
 *rhty flnud the breathing hanu-j} to thefuH^ 
 T}}at throws rrfrejl.ing round a rural fmcU : 
 Or as tiicy rake the green-appearing ground, 
 And drive the dufky wave along the mead. 
 The rufict haycock riles thick behind 
 In order gay. • 
 
 Thomfon 
 
 * '7"hc reader may compare v.ith the above, Dod- 
 i: cv's dcfcripuou of ilic f^mc fubjeft, in his Poem, 
 
 caUcd
 
 CRITICAL ESSAYS. 323 
 
 Thomfon was fonil of delineating the 
 female form, and he fometinics delineat- 
 ed it to advantage; but furely his 
 ruddy hay-maker ii, defcrihed with more 
 pomp than precifion. The fimilc of 
 the Rojl't (of which, by the way, 1 
 do not perceive tlie propriety,) in t!ie 
 r.nticipatory manner in which it is in- 
 troduced, renders the fentencc obfcure, 
 * Szi-c/Ii/ig Ofi the j.ght* is an exprellion 
 citiicr unm.-.ining, or indelicate; and a 
 
 called Pc!>Iick Viituc, a wuik cf very confiJcralili) poe- 
 tical merit. 
 
 —————In flantjiig rowi. 
 With ftill approaching flcp and IcvcU'd Aroke, 
 The cirly mower binding o'er his fcythc 
 Lays low the flcndcr g'^N, emb!rm ot man 
 Falling bcncith theruthlcU hand of time. 
 Then fu'IoAi blithe, tquipt with fork and rake. 
 In light irray, the tr.a:i of nyrnphs and fwains. 
 Wide o'er the ti -Id, their labour iccminij fporl. 
 They tafs the withering hcrb.-.ge ; liglit it iiiei. 
 Borne on the wing>of zephir, whi.lt fofi g.ile. 
 Now while the ifceading 1 anS bri^Si ',t in exhale* 
 The grateful fwcL-incf; cf th • ncA-mown )i.iy, 
 Brcithin^ rcfreil.aicnt, fan^ the ijillnv; fwaiu. 
 
 X 2 healthy
 
 324 CRITICAL ESSAYS. 
 
 healthy countenance fliiHied with heat 
 and labour, is fomewhat ftrangcly cha- 
 raiftcrizcd by the term of ' kindled graces 
 
 * burning oer a check* Our author has 
 alfo here a whole group of his new- 
 coined denominations ; the hay is fuc- 
 cefiively called *friigrnnt loady kind op- 
 
 * t^^ffi'^'^'y tedded grahiy breathing harve/l, 
 
 * and dujky liave.' * Kind oppre/jiony* is 
 a phrafe of that fort, which one fcarcc- 
 ly knows whether to blame, or praife : 
 it confills of two words, dire(flly oppo- 
 fitc in their fignification ; and yet, per- 
 haps, no phrafe whatever could have 
 better conveyed the idea of an eafy un- 
 injurious weight. J * Tedded grain,* 
 feems an unjuftifiablc novelty ; the grain, 
 Oi feed, as an important part of corn, 
 is often ufed for the '•Ji-hole ; but is too 
 unimportant 2. part of grafs, to be ufed 
 
 I The paflfage however is highly redundanr, 
 
 * With itt fragrar.t had e'trchar^^J amid tin kind cp- 
 
 * prtjjitn rill.* 
 
 for
 
 CRITICAL ESSAYS. 325 
 
 for that in like manner: * TcdJtJ 
 
 * gnj/s' would have been unexception- 
 able. * DuJly-icuJii',' is hold, but not 
 improper; a refemhlancc is cafily con- 
 ceiveahlc between rows of grafs on a 
 plain, and ridges of water on tlie fur- 
 face of the ocean. There is an ambi- 
 guity in this, * They fprcad the brciith- 
 
 * ing IhirvcJI, 6cc.' U'e know not whe- 
 ther it is meant, that they///;, by its ex- 
 haling power, throws the rcjrcjhjul fmcU, 
 or whether it is meant that the hay it- 
 felf threw it; if the hitter was meant, 
 {\:\\i\: and grammar are at variance, as 
 
 fun is the fubflantive immediately con- 
 nedcd with the verb tbron's. The tir- 
 eunirtances of age unequal to harder la- 
 bour, attending thccomparatively light- 
 er tail; of hay-making ; of the children 
 trailing the rake, and rolling among the 
 fvvarths, and of the green appearing 
 ground, and rufll't haycock rifing be- 
 hind, arc all equally jull and beautitul. 
 
 X 3 From
 
 326 CRITICAL ESSAYS. 
 
 From hay-making, the poet makes an 
 abrupt tranfition to another plcafing ru- 
 ral occupation, viz. flieep-llicaring : 
 
 Or rufhing thence in nno d'Jufyjc lard^ 
 l"hcy dri\e the tniublcJ flocks, bv manv a d^g 
 Compi'llM, to where the m i/v-runnini; brook 
 Form*" a c!ceppr.ol : this bank ?.!uiipt and high. 
 And that f.iir-)prcading in a ptbbkd iliorc. 
 Ur^'d to the giddy brink, ninth is the toil, 
 Thecbnunirnnich ofinin, and bov"^,3nd •'j;*, 
 E'if^ thiJ-J: fmrfu! fr^^\'f, t*. tlie AoihI 
 Conin.it tlicir 'xs'Jiy fid/s ; and oft the Twain 
 On fome iit. patient uizin;j h-.irls then in : 
 Kn'.bolJcn'd then, nor hefit.itin.' niDre, 
 Faft, fall, they plunge amid t!u- fl.llhin^; v.avc, 
 A:h' pr.n'ing labour to the furtlicr (\\r,\c. 
 Repeated this till deep the well-v.nfljM (1 iTC 
 Has drunk the flr.o.l, n':d from /;t Uv.ly haunt 
 7hrtreut is haiijVd ly thcjir.l I jlrtwr. : 
 Heavy, and dripping, to the brcc/y brow 
 Slow move the harndefs race ; where as they 
 
 fprcad 
 "Their fiirl.'inw trcnfurts to the funny ray. 
 Inly difturb'd, and wond'rini what this wild 
 Outrageous tumult means, their loud com- 
 plaints 
 The country fill ) and /■^yiVfrotn rock to rock, 
 IncclTanl bleatin;^s run around the hill>.
 
 CRITICAL ESSAYS. 327 
 
 y/; lijjy of fmwy tvliu'y to- gutJ.w'ilf.iiki^ 
 Arc in the WJtt'.cd pen inmniurous jmcI. <!, 
 Head above head ; and r.ini;M in lully ;n.v>. 
 The flicphcrds fit, and whet the foii'iJing 
 
 (hears. 
 The lioufevvife wait«J to roll her f.etey floret, 
 With all l.er <;ay-drcf-» -i niaids attending round: 
 One, chi(.f in gracious dijj;nity cnthron'd. 
 Shines o'er the icil, the p.iltoial t|ueen, and 
 
 myi 
 Her {mWvsfiLitt lijmin^ en her fheplierd kin^ ; 
 While the ^lad lit t'.c round thcni yield their 
 
 fouls 
 To feftive mirth, and wit that knows no gall. 
 Mean time their joyous tafk goes on apaee : 
 Some TtiiKglin^ iHrtlie melted tar, and fome 
 Deep on the new-fnorn vagrant' i hcaviiijj fide. 
 To {lamp tlieir maltcr's cypher ready (land ; 
 C)thers th' unwilling weather drag along j 
 Andglor\ing in his might, the ftuidy boy 
 Holds by the twifted horns th'indignant ram.* 
 
 There 
 
 • Another parallel paflage from Dnost FY's Publick 
 Virtue, may perhaps be not unacceptable. Thomson 
 fcems to have been kept in view, but not fcn'ilciy ir.i- 
 tatrd. DoDSLEY has adhered moll clofely to fact, \ 
 marking a confidcrnble interval of time between w.i 
 and (hearing the flicep ; 
 
 X 4 «__,N.^»/
 
 328 CRITICAL ESSAYS. 
 There is a total want of vrr.i-femhhrxe, 
 in the notion of a confiifal multitude 
 rufhing at once from the hay-field to the 
 fhcep-fliearing: the exprcHlon, ' #'w- 
 * Ji-je band,' is an incongruity; ' aijju- 
 ^Ji-^je; or ' dipf'd: gives tlic idea of 
 difperfion; * Lvid; gives the idea of 
 connexion ; difFufive train, or ditfufivc 
 throng, would have heen lefs excep- 
 tionable. There is a fine ilcctch of 
 landfcape in the walhlng-pbcc, with 
 rmc bank abrupt and high, the cihcr 
 
 -Now beneath the fun. 
 
 Mellowing their fl-ccc. for th'impcn.'.n- mr-.rs 
 The 'u-«c//y peop'e, in ful! clotl.lng/'uri.s 
 When the fmooih current of a linipti Kook, 
 The n.epherJ fecks and plur.gin- in it> waves 
 The frighted innocents, their whitcr.Ii.g robes 
 In the clear fircam grow pure. F merging hence 
 On litter'd ftraw, the bleating flocks recline ; 
 Till glowing heat lb JI dry, and brearhiig dews 
 Perfpiring foft, tgain through all the flccrc 
 Diffufe their cilj/utn/s. Then the fwain 
 Prepares th' claftic (hears, and gen:ly down 
 The patient creature lays ; divcftin- foon 
 Its IcngthenM Umbiof their encumbering lond. 
 
 fpreadin;
 
 CRITICAL ESSAYS. 329 
 
 fpreading in a pcbblnl fliorc. For want 
 of a previous fubfliintivc, the participle 
 ' urcr'Jy* fccms to ftand looking about 
 for Ibrncthing to concord with, and is 
 ready to flill into the v.icuity of no mcan- 
 in^;. The Poet, at f.rll l^glit, nppcars to 
 have written nonfjnfj, and fiid tliat * //■«» 
 
 * toil and chimour of tic men and dogs liuis 
 
 * much urged to the giddy hrhik.' The 
 paflage may be read in this manner, 
 
 * Much is the toil and climour cf men and 
 
 * dogSy before the foft Jeciful people com- 
 
 * Jiiit their rjcoolly Jides to the Jljcd :' but 
 it was probably intended tluis, * When 
 
 * the Jlocks are urgd to the giddy brink, 
 
 * much is the toil and clamour , <3c. before 
 
 * they commit themfches to the ii^ater,' 
 The mention of * dogs* twice, was {\i' 
 pcrtluous ; it might have been cailly 
 avoided : 
 
 Tlifv drive t!ic flocks to where the winJir.' 
 
 Itrcam 
 Forms a deep pooljtilii bank ubrupt ai.J hi^h, A:c. 
 
 The
 
 330 CRITICAL ESSAYS. 
 
 The phrafcs of * foft fearful people* 
 * woolly fidcsy Off.' have the character 
 of affectation, and alinoll; of burlefquc. 
 The following circumftanccs arc flri<flly 
 natural, and the fenfe is conveyed with 
 the advantage of torrefpondent found : 
 
 ■ 'The fwain. 
 
 On foinc impatiriu fcizing hurls them in : 
 P'mbolden'd then, nor hrfiratirv; morcy 
 Faft, faft» they plunge amid the fluflnng wave. 
 And namin^', labour to the further rhorc. 
 
 When a writer's memory coIIe(fls a 
 number of different images, great judg- 
 ment is required to decide what to re- 
 tain, and what to rcjecfl:. The mention 
 of the * niuddy li-atcr banif:ing the trout 
 
 * from bis haunt ^* though perhaps mat- 
 ter of fadt, is an extraneous affair, for- 
 cibly introduced, and interfering witli 
 the principal fubjedt. We have a beau- 
 tiful pi<fturc in the * dripping Jicck: 
 
 * moving to the breezy hroiv, and Jland- 
 < ing to dry in the fun ;' and an equally 
 
 ftrikine
 
 CRITICAL ESSAYS. 331 
 
 Ariking reprefcntatlon of fact in tlic 
 
 * incejfant bUatings ccLod from the bills,' 
 The cxprcfTion might indeed have been 
 more fimplci * J\vcllit:g trtafurcs,* might 
 have been changed for * fn-clling JhaYSt' 
 and the * loud com^hunts,' lliould have 
 been rejcded, as being the fime with 
 the * incejfant hleatings* The tranfpo- 
 fition is too bob! in tliis line, * ylt lijl, 
 
 * cf fno\vy.ihite the grilhirdjkcks* The 
 paftoral queen makes a very agreeable 
 figure ; but it is llrange tlie author did 
 not obfervc the identity of fenfc in his 
 verb * rcySy and bis compound, ^ J'lL'fet 
 
 * beaming:' *_/Zv rays her fmilcs fn-cct 
 
 * beaming* that is, ^ jhe beatr.s her Jhiiles 
 
 * fiicet beaming.* The confinement of 
 the Hieep in the pens; the llicpherds 
 wcttin;? their Hiears ; the hcavin:^ of 
 the fliecp's fide under the operation of 
 marking, and the boy holding the ram 
 by the horns, arc all fine minuti:c.* 
 
 The 
 
 • Our laie celebrated landfcapc painter, Gcor^T Smith, 
 of Chichefter, painted a piece called the lIiy-Mr.Ker>, 
 
 another
 
 332 CRITICAL ESSAYS. 
 
 The line, * f-^me mingling flir, Cfr.' Is 
 profaic. The phrafc, * nezv-JJ:or?i vag- 
 * rant,' is quaint ; there is nothing re- 
 lative to the ruhje(fl that can require, or 
 even juflify the word vagrant, and oc- 
 curring on fuch an occalion ns that of 
 braniling dieep, it becomes ludicrous, 
 as recalling the idea of burning a male- 
 fador in the hand. 
 
 That Thomfon, in dcfcriblng familiar 
 fubje<fts, too often produced bombail 
 on one hand, or mcanncfs on the other, 
 has been futHcicntly fhewn. The pre- 
 ceding quotations, with all their merit, 
 
 anothrr called the Hop-Pickcrs, and another cr.Mcd the 
 Applf-Gathcrers, but I do not rccollccl thit he painttj 
 aShpcp-Shcaring: Thomson's defcription would hrivc 
 afforded him many fine hints. It is fbmrvvha* remark- 
 able, that Thomson has not dcfcribcd Hop-Picking. 
 or Apple-Gathering, though both might have been in- 
 troduced with propriety in his Autumn. Fhilips, ir 
 his Cyder, ha-, cmittrd Apple-Gathering, thoiic;h fa 
 important apartofhii fuhjid. The author of thcfe 
 Edays h.T. given a Oiort occafior.il ficctih of it in o?."^ 
 of his Eclogues. See his Poetical Works [<• 115- 
 
 cannot
 
 CRITICAL ESSAYS. 333 
 
 cannot any of them be fiid to be 
 thoroughly correift. Sometimes how- 
 ever he deferibed, with equ.d precifion, 
 limplicity, and dignity. Among other 
 inflances of this kind may be ranked, 
 his delcriptioa of fwimming : 
 
 -The rjiriL:htIy yoiitli 
 
 Sp«.iJs to ihc well known pool, whofc cliryflal 
 
 iKp:h 
 A f.uijy bottom fhows. Aw!»llc he Hands 
 Gazing the inverted landfcipc, half afraid 
 To meditate tlie blue profound below ; 
 Then piutuio headlong down the circling flood. 
 His ebon treffes, and his rofy cl.eek, 
 Inllant emerge ; and through th' obedient wave, 
 At cacbfhort breathing by his lip repellM, 
 With arms and legs, according well he nukes, 
 As humo'ir leads, an cafy-winJing patli ; 
 \Vliilc from his polifli'd fides a dewy light 
 Effufes on the plcas'd fjKiSlalors round. 
 
 The nut-gathering fcenc In the Au- 
 tumn, has equal exadnefs. Englirti 
 poetry c^n boaft few palTages of fupc- 
 rior beauty : 
 
 Yc
 
 334 CRITICAL ESSAYS. 
 
 Ye fwains now haftcn to the ha/c! bank, 
 Where down the- i!n!c the wildly-v.indiiu!; brook 
 Falls hoard- from ftccp to ftecp. In clofj array, 
 Kit for the diickets and the tan^;hni; fhrub, 
 Yc virgins come. For you their latcll fon^ 
 The wo<}dIanJs raife ; the clurtcring nuts for \ui 
 The lover findb amid the fi.crtl fliade ; 
 And where they biirn'Jh «>n the topmofl boii^h. 
 With a<f^i\ c vigour crufhcs down the tree ; 
 Or flukts tliein ripe from tlie rcfi^ning h'.ifl:, 
 A glofly fliowcr, and of an ardent brown, 
 As are the ringlets of Melinda's hair.* 
 
 When Thomfon quits his rural fccncs 
 for politer fubjeds, liis conipohtion hio 
 the (lime variety of charadlcr. Tlic 
 Poet's enumeration of female accoin- 
 plifhments, is one of thofe panaL!;ci 
 which will pleafe in fpite of great in- 
 corredlnefs. Perhaps no man but hini- 
 fclf could have written fuch a piece of 
 beautiful and mellifluous abfurdity : 
 
 • The dcfcription of the rcd-breall fecking Hiclter in 
 a cottag-, is another inrtance ; it has the clofell adhc- 
 icnce to nature, but Oic language, though corred, i; i 
 lower drain. 
 
 —In
 
 CRITICAL ESSAYS. 335 
 
 — In them 'ti<i graceful to ilifTolve at woe ; 
 ff 1th firry ti.o'.iCK^ tvfry xvorJ^ to xv.;ve 
 ^t'ul o'er the iindl'iKg chcik the raids blufli ; 
 Anil from the rm;;l!e(lvioleiKc to (hriulc 
 Uiv.qiKil, tht-n the lovdiert in t!icir fears; 
 And by this filciU ailnla'ion, folt, 
 To their protedion more eiigr.^injj nun. 
 
 The tcndcmcfs which fyiiipathizcs with 
 dirtrefs, the delicacy which hluflies at 
 impropriety, and the timidity wliich is 
 alarmed at violence, are here mofl pro- 
 perly introduced ; but they would have 
 appeared to more advantage, if fomc of 
 the lines, in which they arc defcribcd, 
 had been more concife and fimple : 
 
 May their tender limbs 
 
 Float in the h:f-fim^l'utty of lire!', f 
 AnJ, fiipisfi'd till to harmony^ alone 
 Know they to faze :h: captiuatnifcul 
 In ra^tiirf^ warbling from love-brtiithing lips 
 To teach the lute to l.mguifh ; \v!th Jmouhjle^ 
 Difclufing mf)tion in its every charm, 
 Tofiiim a.'on^y andy:tv//the mazy dance; 
 To train the fL>liage oVr the fiiowy Lwn ; 
 To guide tlie iM.iicil, turn the tuneful page, 
 
 7*
 
 336 CRITICAL ESSAYS. 
 
 To Uninr.vjl3i:ur tt the fruitf-J.jenr^ 
 jtnJ hegltcn nature's diint'tts ; in ihvlr race 
 To rear th,ir graifi in!i frcond I'lfc^ 
 To give focicty its highcft taHc. 
 
 Drcfs, elegant and plain, is fo becom- 
 ing, that every lover of the Fair mull 
 wifli to recommend it ; but few would 
 think of recommending it, by talking of 
 
 * limbs Jlo at ing in a loofe Jimplicity.' The 
 knowledge of mufick is a mofl engag- 
 ing qualification, but the praflifers of it 
 arc not the mod perfpicuoufly charaNftcr- 
 ized, by faying, that they arc, or fliould 
 be, * faJlsi'jncJ ell to hannony* They 
 might have been very properly wilhcd 
 to * Jcize or captivate the Joul i:ith meh- 
 
 * dy, "ivarblcd from loi^c-brcathing lips -y 
 but they are here wiflicd, to * fcizc' it 
 at the fame time that it is * captivateJ,' 
 and to * feize' it * in rapture,'^' Teach- 
 
 • Rapture is here fubftltuted for vocal mufick ; the 
 thing taufeJ, for the thing laujlng. The poet however 
 Ihould have faid * '^ilb ra^turt^ rzX ' in rafturt.'
 
 CRITICAL ESSAYS. 337 
 
 * ing the lute to LingiaJI.\' is a fine poe- 
 tical alternative for caufmg it to pro- 
 duce a languilliing fouiui. Dancing may, 
 without breach i^i propriety, be laid to 
 
 * dij'chjc motion in its cwry charing for 
 motion is agreeable, and conrcquentlymay 
 be laid to have charms; but to * fn-irn 
 
 * tiljn^ lilth Jh:ooth Jti'l'y' U tautology ; 
 ^nd how a * Ji:?::t\' eljKci dly a * jjuizy 
 
 * iLi>:ct\' could lie * j'lc./AJ,' i^ not cafy 
 to explain. We can cjuly guefs what 
 t]:e author meant, by * /-.•nili/ig new jLi^ 
 
 * i-;.7r to the f) uitjul yc.ir :^ '- but furely 
 his diclion ib above his lubje<ft, if he 
 meant the makini' of fweetmeats, con- 
 f-rve>, and pickles. | The context is 
 
 • The year is put for the fruit it proJuccs- The 
 ancicnTi were fonJ of thii mcion%inic:il cxjTcflion ; 
 even il>e corrccl \ I R. c I i , (I. clog. I.) l.lLs of ar:j}.it, 
 bc-nr.! , cir c::rj cf lorn, f-r yi:-r>. This manner 
 might fult ih^- j'ciiius of thr>fvr times, but it ii U-Ido.ii 
 ufcd hy ric.'.rra writers to advantage. 
 
 J The operation is here heterogeneous to the fuF'ji,:!, 
 in ur.Ier to /«•/; /^4»^'-:/r to i!ic year, the ycax null bs 
 fupp'jfcJ capable of being eaten. 
 
 Y am
 
 338 CRITICAL ESSAYS. 
 
 ftil! more enigmatical, and equally tumid; 
 a mother wJio, inftcad of being advifcd 
 to nurfc and educate Ikt childfcn hcr- 
 fclf, ihould be advik'd to * rear her gra- 
 * cesintoJcc'^r.dl:jCy would fcarcely com- 
 prehend the advifer's intentions. 
 
 \VlKn our author's fubjevft required a 
 lofty llr.iin : wlien he was relating cir- 
 cumllances of diilrefj, or defcribing the 
 grand pluriiOmcna of nature; wc {xwX 
 fewer of his quaint new-coined phrafes, 
 and ill-conliruited compounds; but he 
 has oilier unfuecef^ful clt'orts to elevate 
 his diction ; he is olten turgid, often ob- 
 fcure, and often redundant. 
 
 The llorv of Celadon and Amelia has 
 great merit; but might have been told 
 with more concifenefs, more fimplicity, 
 and equal pathos : 
 
 -Vouii~ Celadon 
 
 A:iil hi> AiTidia were aniatchlcfb pair; 
 With ti^ual viriutr fbrm'd, and equal grace. 
 The Tiiiic, dill;n-uif]i'd l.y iheir (ex alone : 
 
 Hcr'«
 
 CRITICAL ESSAYS. 339 
 
 Her's the mild lurtrc of the blooming morn. 
 Am! his i!ic ridLintc of the rif-u d.\y. 
 
 This is a beautiful palT.igc : there is pcr- 
 h.ips no finer inflancc of attributive al- 
 lufion in our lansu^iic. Tlic diflcrcncc 
 between mafculiiie and feminine beauty, 
 is ftrikingly illuflrated by the dlfl'crence 
 between the ardour of the dAV, and the 
 mildnefs of the morning. 
 
 Ti.cy W.W. Jnit fuch their ji^j.V.'.y} palTlon was, 
 A> in ti:ei!a%vii of lime i:iform'J the hurt 
 Cf innficencc, aiu! ur.JiiremMiii;^ truth. 
 
 Figurative and circundocutary cxpref- 
 fions have rendered thcfe lines an enig- 
 ma, for which many readers have pro- 
 bably flood in need of an interpreter.* 
 The mean! !^,g in plain Enghlli is this; 
 T/jcil the p'^JfijK of CclaiLn and Air.did 
 
 • There \'< a perverfe tendency in men to admire what 
 ihcy i!() not unJtrAar.J. Not only iiearera, but r-a-icfi, 
 arc c fir 11 be il pleafcJ with non feu fc This pailh^c hi* 
 un . ibtcJly been thought very line by many v.ho knew 
 not itj meaning. 
 
 Y 2 'mat
 
 340 CRITICAL ESSAYS. 
 
 lias guilthjs as the pajjion of lovers in the 
 daii'u, tliat is to fay, /;; the ear lie/} period 
 cf time* When liowcvcr this painoii 
 had been faid fofitively to be guihlefs, 
 it was fomcwhat fuperfluous to fay com^ 
 paratii'ely, that it was guiltlefs as that 
 which informed the heart of tlic poe- 
 tical pcrfon innocence y and it uuill be 
 flill greater tautology to fay that it was 
 guiltlefs y as that whicli informed the 
 heart of another fiOitious pcrfonagc, 
 undiffembling truth. If it was i^-ithout 
 guile^ it mufl he innocent ; and if it was 
 innocent, it mull he undijjaubling ; and 
 if it was undifeniblingy it mull be true. 
 
 — — 'Twa'vfricndfiiiphcijhtcn'd by tlio mutuJ 
 
 wifti, 
 The enchanting hope, and fvmjir.tln.tic glow, 
 Bcam'd from the mutu.il eye. Dt'jotlng ail 
 Tcisviy (Oih uiis to each it ditirer jelf-^ 
 
 • What the Poet meant by this indeterminate e.vprcf- 
 fion, * Ja'v.n rf tint,* is not cafy to tell: was it the 
 paradilaical ftatc of innocence, or the fibulous goldea 
 
 Supremely
 
 CRITICAL ESSAYS. 341 
 
 Supremely happv in the aw .ikcn'd pouvr 
 Oi giving joy. Alone, amid the (h.ulcs, 
 Still in h.irinonious intcrcourn: they liv'd 
 Tie rural ('iijy :\v.<\ t.ilkM the flowin^'^ heart, 
 Or fi^h'd and loo'^'d unutlciahle thinijs. 
 
 Had tlic lines * Dei'oting ally cfi\' been 
 omitted, perhaps fonic adv.intage would 
 have been derived from the omimon. 
 ' To talk the Jh-siug bccrt,' for * tulk- 
 
 * ing tic ftntimcn's JijU'hig from tie 
 
 * hearty' is a bold elbpfis, but it will not 
 incur the cenfurc of the camhd critick ; 
 and tJKit forcible cxprcUion, * Or Jigh'J 
 
 * and Icok'ily Cifr.' mull cnfurc his ^-raik*. 
 
 So p;:f>*d tluir life, a deer ur.itiJjlrianiy 
 By (arc uKrutJitd., till in evil hf>ur 
 The tcmix.ft c.ui;^ht them o:itIjc tender walk', 
 Hcedlefs how far, and where its ni.i/.es (Iray'd, 
 ItlUfyiv'tth tach cilj.r ll,j!y ir.ntlvc love 
 Still bade (UikoI KJcn fmile around. 
 
 Confideriug how ainply the felicity of 
 the lovers had been before infilled on, 
 the mention that their life war. * unrujjled 
 
 * ^^ c^rf,' is rather an anticlimax'. This 
 
 Y 3 fame
 
 342 CRITICAL ESSAYS. 
 
 fame circumftance fccms alfo ngaln iin- 
 ncccirarily adverted to here ; * Jf^/jilc 'i.ith 
 * each ether h/rjl, Cfr.* Soiiil* may in- 
 deed thlrsk tiiis n-itcrated idea of j.»l'jafiirc 
 beautiful, -a^ an immediate contraft to 
 the fubfc(]ucnt diHrefs, but witli mc the 
 matter is doubtful. Criticifiu dcfccnds 
 to her louefl t.ifl;, when fhc objcds to 
 finglc words j but that tafL is often w(c- 
 ful. The phrafc, * united JJrciims,' wo\\\A 
 have been proper language, but the pro- 
 priety of a * rn unitcJ Jlrcr.iUy is fome- 
 >vhat difputablc. It was furely alfj a 
 glaring overfight, to call a momentary 
 fccnc of delight an * eternal' litLn. 
 
 Utavy with inflant fate her bofom hcav'J 
 
 Vnwont'jJ fighs, and ftcaliii^ oft a Io>k 
 
 Of the bi^ gloom^ OP. CtlaJnn h:r cvc 
 
 Fell tearful, wctti:ig her difordcr'J check. 
 
 In vain afluring love, and confidence 
 
 In heav'n, rcpref>'dher ferif ; it ;;re'.v and H'.o^L 
 
 Her frame ruar riijfoluti'j'r. 
 
 The progrefs of fear is here flriking- 
 ly painted. Amelia's watching the ap- 
 proach of the ftorm, firfl weeping, and 
 
 then
 
 CRITICAL ESSAYS. 343 
 
 then trembling, arc a fine gradallon of 
 natural circunillanccs. The words * ucuK 
 * MJhltithn,' arc, however, fupcrtUious ; 
 if they mean that the terror alone h.ul 
 nearly dcllroycJ her fr.iine, they are too 
 hyperbolical ; if they mean finiply, that 
 her death was near, they arc improper, 
 ns anticipatin*; the tatailroplie. 
 
 -\\q prrcciv'd 
 
 Th' iinrq-.i.il ct>:iP.ict, a:iJ us .'ii^cls lo.'>'< 
 On tlvinj fair.ts, his eyes co;iip..!ric»:i (li.:,!. 
 With Imvc lU.nnin'-.i l:i-?i. * Icjr iit-t, he iMi!/ 
 Sv.ctt ir;r.<.ccnCL- ! t/ ::.j:iu';tr 17 c^Jhu,-^ 
 A'.d ivrjL(iydjl',rrn ' He ul.'i yoii ikio involve. 
 In frowns ( t'daikr.^f-, (Vj: r'aijc-.tin tlkc 
 With kiaJ rv^anl. ( )\-r i.vz-z the ficr< t jhaft 
 That XKjajhl tit iT.id\"Jjt^ sr the ur.Jrcadtd 'hour 
 Of no-r.jf.'ui hdnr.'.ejs : u-d thui very vuet 
 Which thunders terror throu;:h tlic uuihv heart, 
 With tongues C'filr.iphs \vh!^ptT^ p?arc to thine. 
 'Tis fafety tf« be near ihrc, f^rc, ;:nJ ihus 
 To cbfp pcrfeclion. 
 
 The narrative manner in poetry fuccccds 
 more frequently than the dramatick ; we 
 can dcfcrihc acftion that we ourfelvcs 
 have fecn, better than we can Uippofc 
 Y 4 what
 
 344 CRITICAL ESSAYS. 
 
 what another would think or Tiy ou 
 this or that occafion. The prcfcnt paf- 
 fage is an inAancc in point. Celadon's 
 behaviour is finely pointed : the finiilc 
 of angels looking on a dying faint, is in 
 particular beautiful and appropriate ; but 
 his fpcech is unnaturally tedious and tull 
 of puerile confufion. The lightning 
 which was, or fnould have been the im- 
 mediate and fole objed of notice, coukl 
 not be, witii any propriety, teniied n 
 
 * ficrct' Hiaft ; nor is there any mean- 
 ing in talking of its * i.v-y?;/;^ a: /niJ/.'i^/.>ty 
 
 * or the undrcddcd bzur ofnyjii.''- How 
 the very voice which * thundered terror y 
 could at the fame time * \::b:jtcr fcact\ 
 and * ii-lu/pcr it i:uth tcfigucs cf Jcra'^'hs,' 
 is not cafy to comprehend. Should it be 
 faid in vindication of the Poet, tliat the 
 voice was not meant to be rcprefented as 
 
 • The Poet Teems here to have improperly tran-ferrci 
 the fcriptural defcripiitn of the pelliltncc, to his light- 
 ning. If he meant to introduce the pc!li!.'ncc, he want- 
 ed judgment ; for the idea ii cvid'.atly mifplace 1. 
 
 adtually
 
 CRITICAL ESSAYS. 345 
 
 a»ftually of fuch inconfiilcnt chnraclcrs, 
 but only fuppoll'J to province dificrcnt 
 ctTctfts on tiifrcrcnt oh'cits ; dill there 
 will rcinnin an ablurdity, for it really 
 liail no plcalri^: cftlvt on the mind of 
 Amelia, hut the uircci contrary, ^^onic- 
 thing nrnple, like the Idlowini;, veri- 
 fied, would I'urely have hcL'n preferable. 
 
 * To thee the th:uid:rs I'oicc need give no 
 
 * fcrrcr^ tin J the iightnir.gs fi<!ji mujl 
 
 * pijfs oi'cr tbcc L\inn!tjs' 
 
 F: j;i» his Vol.1 cn.''r.;cc 
 
 (M\fitrioii> hv.!\'ii ') i;<.;.t nK>:r.cru to vm- 
 
 gr(,uiu!, 
 A Mackcn'J c*)rfi:, was flruck \\\: lK;:utcous 
 
 maid. 
 I5ut v.iio cnn p.^int th*.- l<iVcr, ;v< h_- P.ooJ 
 Picrc'd In Jij'.crc 2niu/cnu;i;, ]: ting iij\\ 
 Spt^clilct', ar.'! h\M in ;; ! tl.c C. ..I'l (ilWiv! 
 So, f.'.irtt rcf:inl-l;r;<i. ' «.;i t'lc ir.urlilc toinl) 
 The v.tli-dificijil.'cl iiio-jincr l!<<'piiui; Hands, 
 F«.rcvcr flciit, ar.d tor cvcrCid. 
 
 The powers of the pencil and tlic pen 
 niuH: be unequal lo tiie t;:l!v of dele rib- 
 ing the appearance of a perfon in Cela- 
 don's
 
 346 CRITICAL ESSAYS. 
 
 don's fitiiation. Perhaps our Poet has 
 done all ihit couIJ he done on the oc- 
 cafion : * Picrc'J ly fevcrc amazement^ 
 is language bold almoll to tur^nJIty : to 
 fpeak of the lover's * hat'wg li/e,' is I'pcak- 
 ing of an intellectual operation, incom- 
 patible with the fudJcnnefs of the cir- 
 cumflance. It fccms indeed fullicient 
 to have faid, tliat * he flood J}ccch!cfs^' 
 and * without motion,' as in a kind of 
 temporary death, 
 
 SpccchUr, an J ti\\! in all 'he cK-prhofwoc ! 
 
 The defcription does not appear to be 
 much enforced by the finiile, but the 
 fimilc bein;' in illclf an a:^recable ima^e, 
 one docs not willi to lofe it. 
 
 Our author's defcription of the fun- 
 fetting is another remarkable inflancc of 
 |iis peculiar manner : 
 
 I/OW \va!ki the fun, nm! broadens bvdc?rrc«, 
 JuJ} o'er tie verge sfoiri. The fhiftin^ clouds 
 AjtmHitl rn^y a riclly gorgeous train, 
 |n dl their (omp -tt-.nJ his fcttiuj; throne. 
 
 Au,
 
 CRITICAL ESSAYS. 347 
 
 Air, cr.rth, 2nd ocean, y«;V. In.rur.ft-. A r. J now 
 As if his wcnry chariot fought th.- bowers 
 Of Arr.jihitrin-, aivl Vxx icruling nv.njih';, 
 (So Gicci.;;! f.'.hlc fii".g) he tlij- 1:';.- orb ; 
 Now iialf immcrsM, and vaw a c<)M-ti curve 
 Gives one bright £la!!Cc,t'.!c:i total (!i!j'i;;cars. 
 
 This pafTigc is truly poetical, but very 
 incorrcvSt. Tiic painting is llrong, hut 
 carclcfs ; it is a group of iKMutihil, l>iit 
 inconfiftcnt ini.igcry. Tlic * Jhns ic'.:/a:- 
 
 * ingy is an a^ that infers t!ic fuppofi- 
 tion of an imaginary pcrfon ; its * braui- 
 
 * cniiigy is an .nft that can relate only to 
 the real vifible globe of fire : the men- 
 tion of the * Jilting throne,' again indi- 
 cates a profopopocia, and the * ^^ippi'^g* 
 of * the orhy again implies a reference 
 to the natural object. This would have 
 been a moll mallerly piece of compofi- 
 tion, if the verb * iviilk' had been ex- 
 changed for fome other not incongru- 
 ous to the verb * broaden ;' if the ^ Jcttir.g 
 < throne,' the unmeaning phrafe, '/;//? 
 ♦ o'er the verge cf day,' and tJie bombaf- 
 
 tick
 
 34S CRITICAL ESSAYS. 
 
 tick * immcnfc fmilc of dry l^c' had been 
 all omitted ; the er.uliial dcfccnt and en- 
 largement of the fun, it? immerfion 
 within the horizon, redinftion to a curve 
 and total dif.ippearance, (all fine natu- 
 ral and pi(fhirek]ue circumftances) been 
 regularly connekflcd ; and the roman- 
 tick idea of * PLwhuss' chariot feek- 
 ing the bowers of Amphitritc, been kept 
 intirely diflintfl, and introduced laft as 
 an illuflrative ilhifion. 
 
 The ingenious Mr. AUfcs Brc\i-nt\\ in 
 his Sunday Ihought^, has a fine dc- 
 
 \ This fmincnt Poft i^ nmv Ii\in^, in a very aihan- 
 Cf tl age. ni\ Sunciny Thoughts ahove-nKMitirnc;!, nmi 
 his pjfcatory F.cloj-ucs, h.avr jjrrnt niciit, but arc little 
 noticed. With ri'^.nrJ to the lirll, the religious nature 
 cf the fubjttfl, ami its being written in blank verfc, arc 
 fufiicicnt obtladcs to its popularity ; and with regard to 
 the latter, againft every thing thai bears the name of 
 fafural ox ecUgui, y\\^TC is an irrational and ridiculoui 
 prcpofTefiion. It muft indeed excite the indignation rf 
 a fcnfible man, to f.nd the \vork< of I")yf.r, Surv- 
 STPNF, Ar.F.NStOF, tliat excellent I'oem I.eonid^s 
 and fnmcothcr modern produc\ionscf great merit, fcarcc 
 ever fpolccn of, while flimfv and even nnnfcnfical pcr- 
 foriTkanccs cf ihc prcftn: day arc applaudetl. 
 
 fcriptivc
 
 CRITICAL ESSAYS. 349 
 
 fcriptivc palTjgc on the fame lubjcdl of 
 fun-fct : 
 
 Sec where at'icngth the ilyjjKHJtJ-lcui-ng fun, 
 Hii low brojd orb of J] ::inj f\'tt: J. rs ri-fti 
 On the iimn pi. 'l.zv of yon v.vftcrn llccp, 
 \njmulr.g radiance, biJJini; hah tlic world 
 Farewell, on Ipced to \ Ifi: nether ft:ics, 
 Orryiijg morn, noon, nnJ ni^ht in ccafclcfs 
 
 clianu,e ; 
 Each ncwfu-ift minute rouru! the peopled hidl. 
 Lock how the ra*U j„ui i:r,rr Jam to I ait 
 I{iijJ.uiti:in^jfit\iiy ay..l l::i\l /? ciiiiingfportSy 
 Siioots down oMitjucIy his div er j^in^ /v<rv;/. 
 That kindle on f.ppl)fln^; hills tlic M.t/.c 
 OrL'litl'-rini titrrets, wv.X ilhimiji'd domes, 
 A profjvecl all on fire: till finkinj; fiill 
 More and more finking •, v.lule to fi^'lu r^utlc loft, 
 His rays play upward int;;e fleecy tloud>, 
 Tluit f'jiift'-j pcKci.rd litfi a mimic fccne 
 Ik fancy i ()e \ of "^rove^, and v.Iiiten'd alp<, 
 Andtow'rs romantick, rcar'd complete, cr waft? 
 In ruln'd majelty ; witii iatcrfp^ce 
 Of goUkn ether or 1.1', fun plain. 
 Then vanifli t^uite as iuon, and ihifiby turns, 
 To tinctures of a thouland ihoufand dycs.f 
 
 ■\ Cay'* Poem, called Rural Sport.-, has a defcrip- 
 tion of the fun-fclting in the fca, ia which thc«c arc 
 fomc ftnc natural image*. 
 
 Far
 
 350 CRITICAL ESSAYS. 
 
 Thomfon's paflacjc and this have fimllar 
 beauties and fimilar dcfcvfls. This has 
 many noble images, and an uncommon 
 melody of verification, with much in- 
 accuracy. The ' Sun's broad orb rcjlhig 
 * on the green fiecp* is a line piduie as 
 a real ohjed ; his fmilingly bidding the 
 world farewell, is equally tine as a per- 
 fonihcation ; but thcfc pidures, by vi- 
 cinity of fituation, dcllroy the effed of 
 each other. There is great poetical 
 grandeur in the thought of tlie fun 
 carrying day with him around t!ic globe. 
 Thomfon's fun is funk and loft in the 
 ocean, and wc think no more of him. 
 Browne's purfucs his courfe, and our 
 fancy follows him to Mexico or Peru, 
 and acrofs the vaft pacifick to China 
 and India, till he re-appears in our 
 
 Far in the dfpp the fun his glory hides, 
 A ftreak of gold the fca and (ky divides ; 
 The purple cloudi their amber l.ningi (how, 
 Afld edg'd with flame rolls every wavc below. 
 
 own
 
 CRITICAL ESSAYS. 351 
 
 own horizon. The worJ * l\}ll,'\ is al- 
 ways a bail fiibllitiuion for orb or ij^hcrc. 
 The mcnaon of ^ japld jziinicycr^ and 
 * flackcnin^ /h-t'Js,' forces the idc.i Plicr- 
 bus and his chariot o:i the mind ; and 
 the mention of * Jhrr^/K^ />L\:f/:j/ in- 
 Aantly cfn;ces it. The mountains, tur- 
 rets, and domes glowing with the fun's 
 radiance, are motl forcibly defcribcd in 
 that funple cxpreiilon, * a prcfpicl iill on 
 fire* The roinantick appearance of the 
 
 J A fir.c lino In on? cf I' ipl's biil pieces Is ainiod 
 fpoilcii by t!ic ufc of i;m tolloijui.il puerile apjitllulioa ; 
 
 Kut if ctoin-I jufiicc riilci llic haU. 
 
 Dr- YocNG waj very foti J c f this wurJ 1^:11. In his 
 Porm on th- Liill D.iy, h'.- has fcvcr.-l couj-lcts that 
 rhvn'.c upon it, pariicularly one very curious or.e.— The 
 laft trumpet, he lays 
 
 Shall pour a Jrcadful note, the j^icrcing cill. 
 Shall ra-.tlc in tl'.c centre of tlie lall. 
 
 Addifon was ridiJuleJ for his Irar.natlr.-r. of the 
 Integer f'.ia of Ilor.icc, where he rcprcfenti ihc hero 
 of the Ode as (landing unconcerned to hear the * ""^^'■•f/ 
 ' cra.i,' but You so' j language; hero is far worle, it 
 conveys the idea of peas in a bladder. 
 
 evening
 
 352 CRITICAL ESSAYS. 
 
 evening clouds, which like that of other 
 inaccernhlc profpcjds, often induces the 
 imagination to form fictitious rccrions of 
 fuperlativc beauty and happinefs, is cx- 
 quifitely painted by the * ivhhcnd alpSy 
 
 * tbc toners r cured comph'tet or ivujle,' 
 ajid the 
 
 * (fc!Jr:i cilivr anJ ?"l)l;an plain.' 
 
 The di«5lion in fomc parts of this beau- 
 tiful paffaL^e is vicious, particularly where 
 the * ckuih' are laid * to drcfs a mimick 
 
 * fcenc in fiUicys eye.' 
 
 Nature is rich in a variety of minute, 
 but ftriking circumflances, fomc of 
 %vhich engage the attention of one ob- 
 ferver, and fome that of another. Thom- 
 fon and Browne have both dcfcribcd the 
 fun in the ad of fetting. Brov/nc has 
 ,rcpfcfc:nted the pi^fturefquc cftedls of its 
 radiance on the clouds of the weflern 
 horizon, ainl Thomfon has remarked 
 the gradual extindion of tliat radiance, 
 till nothing remains but one uniform 
 colourlefs, and at length dark atmof- 
 
 phcrc : 
 
 CouffjVi
 
 CRITICAL ESSAYS. 353 
 
 Confefs^J frtm yj-J^r fit'x-cxUngu:Jiidchudi^ 
 /ll tiher jofter,':ngy fobcr eviiiing takes 
 Her wontcvl Nation in the mi Jdlc air ; 
 A th()ufand fhaJows at her beck, firll this 
 She fends on earth ; then that of deeper d)* 
 Steals foft behind ; and then a dc-cpcr ftiU, 
 In circle following circle, gathers round. 
 To ckj't ^c face of tilings. 
 
 This paHagc blends natural dcfcrlption 
 and pciTonificatlon In a very intricate 
 manner. Both would have been proper, 
 and indeed beautiful, had they been kept 
 afunder. The gradual vaniHiing or cx- 
 tIn(5lion of colour in the clouds, juflly 
 difcriniinates evening, confidercd as a 
 point of time; but as fuch vanilliing or 
 cxtlnvTlion occafions darknefs, it could 
 not podibly render evening vifiblc or 
 perceptible, confidcred as a pcrfon.-f- 
 The profupopoeia, however, is in itfclf 
 jufl: and noble ; Evening llands a con- 
 
 ^ Had the Poet been dcfcribing morning, he would 
 have ha. I th^^ a.lvantr.gc of combining reality and fidlion ; 
 the withdrawing or rrniovil of the clouds or ihadows, 
 might have rcvculcd to view the f.ililious pcrfjn. 
 
 • Z fpicuous
 
 354 CRITICAL ESSAYS. 
 
 fpicuous figure in air; * Confefsd^ in 
 this place, is but a puerile alternative 
 for knoivTif or dijiinguijhed, and * All 
 * ether fofteningf is a phrafe whofe 
 meaning can be only guefled at. 
 
 Thomfon, in the above inftance, has 
 given, as it were, a real exiftcnce to his 
 impcrfonatcd objcd, by the attribution 
 of adion, and her * calling the f:adQvs* 
 He has on another occafion thus rea- 
 lized a perfonification, by fpccifying the 
 effects it produced on human beings. 
 
 He comes ! he comes ! in every Ireeze the power 
 Of philofophick melancholy comes ? 
 His near approach the fudden darting tear 
 The glov/ing cheek, the mild dcie^d air. 
 The foftencd feature, and the beating hearty 
 Pierc'd deep uith many a virtuous pang decline. 
 
 This fine pidure is greatly injured 
 by a few words. The power fhould 
 have been faid to come, * upon the breeze,* 
 not on * every breeze -y* an expreflioo 
 which indicates a multiplicity of ap- 
 proaches; if he came on * every* breeze, 
 
 he
 
 CRITICAL ESSAYS. 355 
 
 he muft have been always coming. The 
 glowing cheek, dcjcdcd air, and foften- 
 ed feature, were all vifible; confcquent- 
 ly might declare^ or denote his coming, 
 but the * beating heart' could not be 
 /een, confequcntly could not declare it. 
 
 The profopopocia is a figure lefs lia- 
 ble to abufe than the metaphor, but it 
 is very frequently abufcd. Our author, 
 as the late Lord Kaims-f- has juftly ob- 
 fervcd, employs it fomclimcs wiih im- 
 propriety or affcdation. The following 
 is a ftriking inllance of the finical, or 
 puerile. Little maftcr coolnefs * lojl'. a- 
 mong his blujh of rcfes, * dropping bis 
 * deijJSt and mujing on the turf, or by 
 the rillt is a very curious figure : 
 
 Half in a blujh of cluflcring rofcs loft 
 Dew -dropping coolncfj to tlio ftiadc retires j 
 There on the vcr Jant turf or flowery bed, 
 By gelid founts or carclcfs rills to mufe. J 
 
 f Elemtnti of Criticifm. 
 J Weak minds and young minds are picafed with chi: 
 fantadical manner. The Author of thefc tlTays, when 
 a boy, thought the above paffage of Thomfon a very 
 fine one. 
 
 Z a This
 
 356 CRITICAL ESSAYS. 
 
 Thomfon's dcfcriptlon of the Nile, 
 difcovcrs a rich poetical imagination, 
 but it is dcfcif^ive in corrcLtnefs. We 
 find in it that common fault of an in- 
 congruous mixture of natural imagery 
 and impcrfonalion. The river is traced 
 from its fourcc, till its arrival in Egypt, 
 and its progrefs and incrcafc are illuf- 
 trated by a kind of metaphor, or indi- 
 rcd fimile, drawn from feveral ftages of 
 human life, infancy, manhood, and age: 
 
 - ■ With annual porr.ji,t 
 
 Rich /i'.'7 of r.(K^u'>! o'crfiows the fuelling Ni'' 
 From 111? tVA» fprircs in (^»ojau!'s f'liiny r.-.'.liii, 
 Puiv-itY//.'«^ out, he through the luclJ lalcc 
 Of Lir DamKa r<>il> his '\'.\\\mtj}r.am. 
 There by tlie Naiail- riurs'J hi:fi^:rts away 
 IWs p.'oyful ycuthy amii! the fragrant iflcs, 
 1'h:n with unfading vcrJiire fmile arnunJ.* 
 
 ■f This kind of portry has no foul ; it is cold and artifi. 
 cial ; the produh not of the heart, but of the head. 
 pop I, in his Trcatifcon the Bathos, well compares it to 
 a tortolfc, a heavy lump, under a fine embroidered flirll, 
 
 • 3/irr.:'<ifi', our Poet'i Biographer, feems miflakcn in 
 his fiippofition th:ii this paflage is borrowed from Pliny 
 the l.hier. Our Author is indifputably indebted for his 
 Dcfcriplion of the Nile to Ktnher. 
 
 Ambiticus,
 
 CRITICAL ESSAYS. 2S7 
 
 Ambitious, thence the mntily river brc.iks ; 
 AnJ gathering many a flood, anJ ctpiou'; fcj 
 ^Vith all tlie jwHoiuil tr/afuri$ of the fkv, 
 li'irJi in prcgrej-.'je mnjcfty ilong : 
 Throu;^h fj-lcnJld k!:igJ(.>mi r.-** devolves his 
 
 OLnze ; 
 N'ow upjiJcrs wild o'er f -litary trails 
 Of I;fc-dvfcrtcd h\\^ J till ^lad \.u q-iit 
 The joylcfi dcl'art, down the Nuliiaii rr.cLs, 
 From ihund'riiig Itccp to rtup \\c pours his urn, 
 Till Kgypt joys beneath the fprcading wave. 
 
 Fine verfificatlon is a powerful recom- 
 mendation. The critick's ch.irity is too 
 often induced by it to fp.irc a multitude 
 of poetical fins. Fine verfification \vc 
 indeed have here, but \vc have alfo a 
 ftrangc confufioii of ide;is. Nilus, as 
 river-god, fcems flrll indicated ; he is 
 the * king of foods ^ &c.' Proteus like, 
 he immediately turns to real element ; 
 he * oerfou^s* and * 'u:clls out* and be- 
 comes a * frcam* He as fuddenly rc- 
 fumes his ptrfonal chara(fler, and * f ports 
 * a playful youth,' Nile, the current of 
 water, th^n fuddenly appears witli pro- 
 Z J perties
 
 358 CRITICAL ESSAYS, 
 
 pcrties attributable only to that current, 
 as * ijoinding through kingdoms^^ (^c. Ni- 
 lus, the deity, is then again as abruptly 
 introduced, 'pouring bis urn* from one 
 thundering ftecp to another. Our au- 
 thor has few examples of what is term- 
 ed the clinquant t or concetti y but he has 
 defcendtd to it in the circumllanccs of 
 the * Naiads nurjing the river t\ and of 
 that river being * gtad to quit the dcjart* 
 Here is another fpccimen of his atFc<fled 
 appellation, in * melhuL-ed treafures oj the 
 
 * Jky.* To mention that the Nile was 
 incrcafcd both by the defcent of rain, 
 
 * treafures of the Jky^ and the influx of 
 rivers * gathering many a food, will 
 appear unneceflary, when it is confider- 
 ed that the former mufl of courfe be 
 
 J What the author meant by Uaiadt here, h difncult 
 to determine. If he meant fijh^ a fchool-boy could 
 fcarcely have been abfurd enough to talk of * fjh 
 
 * nurjing a ri'vcr •* if he meant Pagan deities, he hai 
 almoft as abfurdly introduced the mythology of Greece 
 in Egypt. In his defcriptlon of angling, he fecms to 
 apply the term liaiaii to fifli. 
 
 conveyed
 
 CRITICAL ESSAYS. 359 
 
 conveyed by the latter. To atone for 
 thefe faults, there is in the laft line a 
 moft noble inftance of a natural objed, 
 affording with great propriety a fine per- 
 fonification : Egypt, the trad of land, 
 is covered with a beautiful body of water ; 
 Egypt the poetical perfon, * rejoices be^ 
 * neatb the J^rcading ivave* 
 
 This paflagc might be cafily reduced 
 nearer to the flandard of clafTical fimpli- 
 city, by dropping the impcrfonations, 
 and retaining only the metaphorical epi- 
 thets. Thofe criticks, however, with 
 whom bombaft and ftrcngth are fyno- 
 nymous, will doubtlcfs think the poeti- 
 cal y>j/wr^j of the pafTage much week' 
 tned by fuch an alteration as the fol- 
 lowing : 
 
 From its two fpringsin Gojam's funny realm. 
 The infant ftream tirft fecks the lucid lake 
 Of fair Dambca j then in playful youth 
 Sports through green iflcs and cvcr-bloomiiig 
 groves ; 
 
 Z 4 Ambitious,
 
 360 CRITICAL ESSAYS. 
 
 Ambitious, thence the manly river breaks. 
 And in its courfc by many a flooJ incrcas'dj 
 Winds in pro^TcTivc majcfty al<in^ 
 Through f}>lt.nJid realms, and folitary trails 
 Of l;fc-<krcrttd fanJ ; down Nubian rocks 
 From thtindcring ftc;.p to ficep impetuous pours ; 
 And Egypt jo)s bcneatli the fpreading wave. 
 
 Thomfon's dcfcription of the South 
 American rivers muH: not be omitted : 
 
 -The branching Oronoque 
 
 Rolls a brown deluge, and the native drives 
 To dwell aloft, on life-fufficing trees 
 At once his dome, his robe, h:5 food, and arms. 
 Swcll'd by a thouLnd ft reams, impetuout; hurl'd 
 From all the roaring Andes, hugcdefccnds 
 The mighty Orcllana. Scarce the niuje 
 DartiJiritcK lif -iiing o'er this enormous mafs 
 Of rufliing w^tcr ; fcarce p.t dara atttmpt 
 The fca-like Plata j to whofe dread c.vpanf', 
 Continuous depth, and \\-ondcrous length of 
 
 courle. 
 Our floods arc rills. With unabated force 
 In filent dignity they fwecp along, 
 And traverfc realms unknown, and blooming 
 
 wilds. 
 And fruitful dcfxrts, worlds of folitude, 
 Where the fun fmiles, and fcafons teem in vain, 
 
 Unfvcn
 
 CRITICAL ESSAYS. 361 
 
 Unfecn ar.d uncnjoyod.t Forfal-ingthcfc, 
 O'er peopled plai:-.i they fair ditfufivc flow, 
 AnJ many a nation feed, and circle fife. 
 In Jiclr fair bofom many a liappy >flc ; 
 The feat of Ham.Uj'i Patty yet unJIfturb'd 
 By Chriftiaii crimes and 1 iiropi's cruel fons. 
 Thus pourin^j on, tht y proudly ftck the deep, 
 Whofc vaiiquifli'd tiJe recoiling fio-n the fhnclc. 
 Yields to this liquid weight of ha!;' the globe. 
 And ocean trembles for his green domain. 
 
 Poets not unfrequcntly aim ct aggran- 
 dizing their fubjcd^, by avowing their 
 inability to dcfcribc it. This is a pue- 
 rile and inadequate expedient. Tiie 
 powers of a writer can be no flandard 
 
 f This is a beautiful romar^tic thought. Dyer hw 
 one nearly fimilar :— 
 
 "In their rough bcwll Jer'J vale« 
 
 The blooming rofe its fragrance breathes in vain. 
 And filvcr fountains fill, and nii;h:ingalcs 
 Attune their notes where none arc left to hear. 
 
 This is from that noblefl of didiLlick poems, the 
 Flttce, to which our celebrated biographical critick has 
 done fuch manifeil injuilicc. It would bcoodiFicuIt 
 taflc to vindicate it againd his objctftion}. 
 
 for
 
 362 CRITICAL ESSAYS. 
 
 for the judgment of a reader. Thomfoa 
 has here, perhaps inadvertently, defccnd- 
 cd to this feeble art of exaggeration. To 
 fay that his * Miife fcarce dared tojlrctcb 
 
 * her icing ever one river,* or to * at^ 
 
 * tempt' another, does not aflifl us in 
 forming an idea of cither. Very differ- 
 ent is the cafe, when thcfe rivers arc 
 placed in cotnparifon with ours, and \vc 
 arc told, that to the former the latter arc 
 no more than * rills,' 
 
 The human mind delights to expatiate 
 in unknown regions. It has fomewherc 
 been obfervcd, that the accounts of tra- 
 vellers, even if ill written, arc generally 
 fought and pcrufed with avidity; when 
 fuch accounts therefore are recommend- 
 ed by a digr-ifled and mufical expref- 
 fion, it is no wonder that their charms 
 arc irrefiftiblc. That poetical power 
 which can convey us ** to Thebes, to 
 ** Athens, when it will, and where," 
 has fo forcibly reprcfented the progrefs 
 of thefc enormous rivers of the weftern 
 
 conti-
 
 CRITICAL ESSAYS. 363 
 
 continent, that our imagination necefTa- 
 rily attends it, and beholds their vafk 
 defarts, peopled plains, and happy iflands. 
 The true fublin^c is exemplified in the 
 idea of their ru(hing with fuch impetuo- 
 fity, as to * repc! the tide -^ and the 
 thought of ' ccean trembling for bis green 
 * domain^ though amazingly bold, is 
 one of that kind, in which the mind 
 (prepared by what precedes for fomc- 
 what extraordinary) readily acquiefces. 
 Thomfon's paragraphs often tlofc with 
 lines peculiarly ftrong and fonorous, and 
 we have a fine inftance of it here. 
 And ocean trcniblcs for his grct-n domain. 
 Our poet's defcription of a Summer's 
 Noon, is very natural, and has great 
 energy of exprcflion : 
 
 'Tis racing noon, and vertical, \\\: fun 
 Darts on the head direct Ii;s forceful rays. 
 O'er hcav'n and earth, far as the rnngini; eye 
 Can fwcep, a dazzling delude reign-., and all 
 From po!eto p<-t!e \ is undiftinL^uinrd bla/c. 
 In vain the fi^ht dejeclrd to tlic c"'ouiid 
 Stoops for relief, thence hot afcenJing llcams 
 f From pole to pole, ftri£\ly fpeaking, ii improper; 
 the poet meant from one part of the horizor. to the other. 
 
 And
 
 364 CRITICAL ESSAYS. 
 
 And keen rcflciflion pain. Deep to the root 
 Of vcgcUtion parch'd, the cleaving fields 
 And flipjK-rv 1 :iv\n an arid hue difclofe, 
 Blaft fancy's blooms, and wither e'en tlic foul. 
 
 In faying that ns * far as the eye can 
 
 * range, there reigns a dazzling deluge,* 
 and that * all from pole to pole is undif- 
 
 * tinguijiyd blaze y it muft be allowed 
 there \^ unncccflary vcrbofity ; hut per- 
 haps in this inftancc the redundancy, 
 as tending to enforce the imprelTion of 
 the image on the mind, is at lead: par- 
 donable. ExcclTivc heat undoubtedly 
 enfeebles the body, and has been fup- 
 pofed to enervate the mind ; this was 
 probably the circumftancc meant in this 
 cnergctick, and ainioft bomb.ilb'ck line, 
 
 Blaft fancy's blooms, and wither cv 'a the foul. 
 
 Confidered in connexion with the fore- 
 going, the following is certainly ^x\ an- 
 ticlimax, but it contains fine natural 
 images. The mowers pafs their noon 
 
 no^
 
 CRITICAL ESSAYS. 365 
 
 not only in eating and drinking, but 
 often in flccp al lb : 
 
 Echo no more rctu; ns t!.c chcarful fmintl 
 Of fbarpcning fcythf : the incrnvr finking, heaps 
 O'er him the hum! J !i.iy, with flowers p.rluni'J, 
 And fcarcc a chirping rjafViu ppcr is heard 
 Through the dumb mead. • 
 
 The context contains a bold profopo- 
 pocia, and another thought, which, 
 though indifputably fanciful, contri- 
 butes to the gcncal purpofe of fully 
 poifening the imagination with the fub- 
 jea: 
 
 Diflrcoful nature prints, ■ 
 
 The very ftrcanis lu<»k languid from afar ;f 
 Or through the unlhelter'd glaiie impatient fecnj 
 To hurl into tiie covert of llic ••rove. 
 
 The Poet defcrib-js the imprefiions of 
 heat on his own perfon with great 
 feeling : 
 
 •f- A mafter of compofition may fomctimcs hazard fuch 
 daring rtrokcs, and fuccecd. Writers of inferior abili. 
 tics attempting thcai, will only produce laughable ab- 
 furdity. 
 
 AU-
 
 366 CRITICAL ESSAYS* 
 
 All-Conquering heat, O intermit thy wrath, 
 And on my throbbing temples, poti-nt thu\ 
 Btam n:tfofiirce! InccfTant ftill you Jlow^ 
 And ftill another fervent flood fuccccds, 
 Four'd on the head profufe. In vain I flgh 
 And nftlcfs tarn, and look around f(»r night ; 
 Night is far off, and hotter hcur> approach, 
 
 Thomfon, who has here (o fully cx- 
 paii;Uid on the hot weather of our own 
 cl::*utc, has fald Icfs of that between 
 the troplcks. His introdudllon to the 
 fuhjcift raifes cxpedations, which his 
 defi ription docs not fully gratify. The 
 porch, according to the vulgar adage, is 
 bigger than the hcufe. 
 
 Now while I tafic the fwcctncfs of the (hade, 
 While naturt lia around deep /utPd in neon ; 
 Now come hold fancy fprcad a daring flight. 
 And fing the wonders of the torrid zone ; 
 Climes unrelenting! with whofc ragecompar'd; 
 Yon blaze is feeble, and yon fkics arc cool. 
 
 There is evidently in this a promife of 
 fomcthing fupcrior to the following : 
 
 Sec
 
 CRITICAL ESSAYS. 367 
 
 Sec how at once the bright fffulgent fun, 
 Rifing dire£t, fwift-chafcs from the flcy 
 The fliort-Hv'd twilight, and with urdcnt blaze 
 l.^X)ks gaily jicrct o'cT-11 the dazzling air: 
 Ht mounts his throne;* but kiiid before him 
 
 (beds 
 Ifluing from out the portals of the morn 
 The general breeze, to mitigate his fire. 
 And breathe rcfrcHimcnt o'er a fainting world. 
 
 Armftrong, in his cxxcllcnt Didadick 
 Poem,-(- has dcfcribcd tropical heat in a 
 negative manner, by enumerating fomc 
 of the circumftances that render it fup- 
 portablc : 
 
 What fuits the climate bcft, what fuits the men 
 
 Nature profu(^.-s mod, and mod the tafte 
 
 Demands. The fountain cdg'd with raccy wine. 
 
 Or acid fruits, bedews their thirty fouls ; 
 
 The breeze eternal breathing round tlieir limbs, 
 
 Supports in clofe intolerable air : 
 
 While the cool palm, the plantain, and the grovt 
 
 • Our anther has h:;c again confounded the mytho- 
 logical idea of Pbccbus and his chariot with the actual 
 fuQ. 
 
 t Art of Pfcrcrving Health, 
 
 That
 
 36S CRITICAL ESSAYS* 
 
 TJ>at U-aifS en gloomy Lffa'tcn^f a.Twage 
 The torrid hill that beams upon tlicir heads. 
 
 The fifth of the above lines, * T/je breeze 
 
 • eternal^ Gfr.' is one of the fwcetcft, 
 as the fixth, * Supports in clofr,' is one 
 of the ftron^cll, and men: fonorous in 
 our language. 
 
 John Philips, the celebrated Imitator 
 of Milton's ftyle, a poetical, but bom- 
 baftick writer, has defcribed equinodi- 
 cal ardors in another manner, viz. by 
 their cffeds on the human frame. 
 
 Nor Icfs the fable borderer of Nile, 
 Nor who Trapobane mr.nurc, nor they 
 Whom funny Borneo bears, are ftor'd wiJi 
 
 ilrcams 
 Egregious, rum and rice's fpirlt extra£l. 
 For here expos 'd to perpendicular ra)-s, 
 
 f This periphrafis has a bad cffeft. The mention of 
 
 • tht greit ff^a! 'xa'va en Lthancn* inftead of cedar, the 
 name of the tree, ir.akci one think at firft fight that the 
 Poet, inHcad of defcribing the Eall or Well-Indies, wat 
 dcfc/ibing Mount Libanus, in Syria. 
 
 In
 
 CRITICAL ESSAYS. 369 
 
 In vain tlu y covet flu'lfs aiul Thr^lci.i's ^.ilcs, 
 Pining with ciju t-.oiK.il hiv.t, uhUIn 
 The cordial glafs ptrpjtu.il niorioi! Icrp 
 Q^iiclc circuitinir ; nr>r dan- tlii-y dole thrir cycj 
 \'oid of a bulkv clur^^-r nc.ir their Tp^^ 
 \^ ith whivh inolh-n- iiiterriiptod fiivp, 
 Thfir fr\ing blovid comjvls to irritratc 
 Their drv turrM toii^ius clfe niitr.i'elv totl^'ath 
 Obnoxious, d;l;nal death tlieef^vlof droii.'nt.^ 
 
 But there arc other circiinillinccs pecu- 
 liar to iIk'Tj torrivl region^, and Thoni- 
 fon has ahiinJ mtly fuecocJcd i:i his pic- 
 tures of them : aincng thcfe, none is 
 more highly coloured than llic fullow- 
 in: 
 
 o • 
 
 -::rer.th'd hot 
 
 From all t!ie Ixniiv.lklV furn.-.ce <;f the fi:y. 
 And the wide ^-litteriii:^ wafle of burning C'.nd, 
 A uitFocritinj; wind die piljriin f:;:!te.> 
 
 ■f Poets arc fupfHifcd to haw a licence fir c.vaggcn- 
 tlon, hut Piiii. If") had noociafion for it here, if trav^l- 
 Icrb can bo bcK-.-ved, uho afllrt, th t in l\\c illcofOrniU ., 
 in the Perllan gulpli, th: inh.ibitantj wcrr c!)Ii^<c I to 
 pafs the nij;ht wit!i tlie greater part of their budic- in 
 ciftcrnsof water, 
 
 A a With
 
 370 CRITICAL ESSAYS. 
 
 With Inflant death. Tafic in of thirft anJ toil 
 Son f)f the til fart ! cv'n the c;iiml I'ccis 
 Shot tl'rou^'h his withtrM l;cart the- fiery Mart : 
 . Or from tlic bb.ck-rtd ether burftin^ broail. 
 Sallies the hidden whirlwind ; ftrait tl'.c fands 
 Commov'd around in j:utheringtdd!'.-s play; 
 Nearer ar.d nearer Hill they darkening come, 
 Till with the general al!-ir.v(,!vin^ftorni 
 Swept up, the whole cur.tiniKr.is wilds arife, 
 AnJ l>y their nsioii-day fount dejeclcd thrown, 
 Or funk at ni^^ht in fad difillrous fleep, 
 Beneath defe^ndin^ hills, the c::r.ivan 
 Is buried deep. In Cairo'> crciudcd ftrcets 
 The in.p.itient n'.crchr.r.t wond'ririg waits in 
 
 vain, 
 And Mecca ^adden^ at the long delay. 
 
 This is poetry indeed ! poetry ruperlor 
 even to painting. The Poet tranlports 
 inftantancoufly f'^oin the defart to Cairo, 
 and from Cairo to iMecca; but the 
 painter could not have fliewn all thofc 
 places on one canvas, without a flag- 
 rant ablurdity. 
 
 Poetical defcriptions of tcmpcfls have 
 in general fuch uniformity, that the 
 
 reader.
 
 CRITICAL ESSAYS. 371 
 
 reader, c'rc he begins to read, knows 
 what he riiall nieet with, and ahnoft 
 thinks pcrufal unneceflary. Thonifon's 
 Thunder Storm however is of other cha- 
 rader, it fufliciently denionllratcs the 
 uncommon accuracy of his oblervatlon. 
 No author, ancient or modern, (fo far as 
 I know) has defcrihed the grand elec- 
 trical phcnonema of the atmofpherc, 
 with fuch dignity and precifion. The 
 didion, as ufual, is rather too ditlufe. 
 
 *Tis lillciiiny fear anJ dumb ania/.cmciit all; 
 When to thi- ftartlcJ cyt- ihc luJilwii i;la:ice 
 Apjuars far fuuih, eruptive through the eloud, 
 AnJ following flower in c.\^l:f.:mi2j}^ 
 The thunder raifes his trcm-iidous \o;cc. 
 At firll heard folenui o'er t!;c vcr^je of heaven. 
 The tenipeft ^rote's ; but as it ne.;ier co;nes. 
 And rolls its awful harden on t!.c wind, 
 T he lightnings flalh a larjcr curve, and more 
 The noife alkiunds ^ tdl over head a fhcet 
 Of livid flame difclof.;s wide, th*n ihuts 
 And opens wide**. Units and ojvns ftill 
 txpanfive, wrappinii; tlhr in a bl.ize, 
 I' ollows tijc loolc'i'd aggravated roar 
 
 A a 2 Enhr^ini?,
 
 372 CRITICAL ESSAYS. 
 
 Knljr^'in^, iKcj.'ninir, mir.glirij;^ ; pcr.l on pea! 
 Criinrd horiiMc, coir, uilln^ heaven aiul earth. 
 
 Stcrtiis arifc from r.ll quarters of the 
 Iiorizon, luit jurhaps oftcncH: from the 
 foulh; the mention of that point is 
 therefore ccjually nnti'.ral and picflurcf- 
 qiie; fptcific.ition cf pofition always 
 gives a kind cf riility to a fuppodd 
 fccne. The * JlulJjn gltificc of dijlant 
 * iiibtnhrSy^ ihouKl have heen followed 
 by tile thnndLf heard remote, not by 
 the * trar.cnujus r;/Vt',* and vail cxplo- 
 fion ; thefe are introduced too early in 
 the defer iptlon. Tlie tcmpell rolling 
 its awful burden on tlie wind, is a jull 
 and noble idea. This part of the pif- 
 fage might polhbly be comorencd to ad- 
 
 vantage : 
 
 *Tis lifl'ninj fc.ir 2'vl diimVi amazement .-vll : 
 When to the ft;'.r:!. J eye the ftulJen g!ancc, 
 Appears i:.x fouth eruptive through the cloud ; 
 And folloA-ing flow the fjkm.'i thunder roils. 
 Long, drrk. and Lhrc.;tciiing o'er tlic verge of 
 
 heav'r. 
 The tcmpcJl fwdlf, but as it nearer conic>, 
 
 And
 
 CRITICAL ESSAYS. 373 
 
 And rprcnils its av.ful ln:ril..i (-n the winJ, 
 
 The * jl:uts luul cp'.'Ks^ f.uts and opens 
 * JtiHf is obvloully an attcinpt at mak- 
 ing tlic fouiul carrc!nf)n(i with the Icnfc, 
 V'hidi notuitliaandiiu'^ the vcrks arc 
 rather profaiek, is net wht-lly unluc- 
 cei'sful. The cxploiions ot a thiuuler 
 cloud proihice a liiverlity of founds, 
 which no language can lully imitate ; 
 the linccJ here employed in emlvavour- 
 in:^ at an imltatl(ii, h..ve o.lu tliouvlit 
 to be noile without meanin;-. They 
 
 O J 
 
 nv.iy in pari, hut j^rhapb net wliolly, 
 def^rve that characLr. 
 
 Kr.l.ir.';!!^.-, ilL'.j/ii:nj, :n:!iL',l!!'j ; |KmI o:i jv;i?, 
 Cru!:i\! liMiri' 'c, co;;\ii!.L'!j h..;v':i ;;:(! c-.irtlj. 
 
 Thunder loniekimes llcnis a kind of 
 violent laceraticn, a^ if Jbir.e ckdliek 
 body were fudd^jdy rclc.-.k-il from con- 
 finement; this fpccic^ o^ n')ifj wa^ per- 
 
 • The ciinJid rcr.i'.cr will r hfjrvc tlsr.t t'.cL- ..Iterati- 
 on . arc ''ivcn only to c\'>l.::n :ny nuanin'j, v. '.'.ii I t.iU: 
 of cIuiTical and correct coTiipo.r.ion. 
 
 A a 3 haps
 
 374 CRITICAL ESSAYS. 
 
 haps meant to be cxprcfll-d by the epi- 
 thet * kofcncii.' Incrcafcd or augment- 
 ed found, is not amir8 dcfcribcd by the 
 harHi term * azzr(i''JdtcJ i but after this 
 it was certainly fupcrfluous to talk of 
 
 * enliirzir.z' A new idea is conveved 
 by * deepening ;' but nothing is added 
 to the fcnfc by the word * f?jing[i>ig.' 
 Repetition is very well indicated by the 
 
 * pciil en pciil i but what was intended 
 by * cru(7:\l hjrrihh\* cannot be eafily 
 determined, it is no very extravagant 
 hyperboL-, to fiy of a violent commo- 
 tion cf tlif- air, tliat it * comndfid hca- 
 
 * 177; iind ciirthj" 
 
 Down comes a <!i!u^t- of fonorous hail. 
 
 Or prone tlcfccn.iin^ r.iin — wlJc rent theclouvi^, 
 
 Pciir a whfile flrJ-y aiid yet its flame iin- 
 
 qu( .'ich'd, 
 Thr unconqurrahic lightning ftniggics through, 
 R.T'gra and Herce, or in red whirling h::Il>;, 
 /r.d frci the TKi::r.!a'ir.i •xith reJuibkd *3ge. 
 
 Here is obvioufly another attempt at 
 imitative exnreiTion, and with re:^ard to 
 
 found.
 
 CRITICAL ESSAYS. 375 
 
 found, the paflagc is certainly unexcep- 
 tionable, but it has in other rcf^^cds 
 fomcthing to cenfure. * Delude,' in the 
 firll line, and ^ jhody in the third, arc 
 fynonynious ; the former gives an idea 
 to which nothing is added by the latter. 
 Poets, when intent on their fubicv:!, of- 
 ten unconfcioufly ailopt tlie language of 
 their predecelfors, without confidering 
 how far the adoption is confident with 
 propriety ; Thonifon's line ;:bove quo- 
 ted, * Andjirci the jmunt iiins ^ "r.* was 
 probably taken from one of Pope, in 
 this manner, for it does not fcem to 
 convey any precifc natural image: 
 
 i . As when angry Jove 
 
 Hurls down the forky li^htnin^ from a!>ovc ; 
 On A rime when he the tliunu'cr tlirows, 
 Andfirci Tjphatii nith r:J:ui.'tJ l.':v.s. 
 
 Iliad, B. 2. 290. 
 
 But to proceed. 
 
 Black from the ftrolx above the fmoalJcring 
 
 pine, 
 ^tanils a fad fhattcr'J trink, and ftrcicn'd below, 
 A a 4 A Llckf;
 
 376 CRITICAL ESSAYS. 
 
 A I:ftlrf<; group the Ib.ntJ c.ttlc Vw ; 
 
 Taov treJ:ftj':Ji tiith th.:: f.ur.c harrr.lffj l:ok 
 
 They un-L- o'i\i\ r.u.l rut:ii:u:t'.nj^ Jl':!l 
 
 In firuy'i rir, o'd thrr.- trf/rrunifr h'! 
 
 Jnd ex l:(:lf-]\:'s\i.\ 
 
 Tills is a flrikip.g plvTlurc, but Its gran- 
 deur is iliiiiininRel hy iniiuitcncfs. The 
 lines in itilicJcs, however graphieal, had 
 better h.= * c been onntted. 
 
 ■Struck on t!-.c cafrlcJ clifT 
 
 The \c-ncr.;!>'c town r.m! fj»:r\- f.uic 
 Rcfgn f'.tir i:^:J pr'i,!c. 
 
 Wc have here aiuither well feleC'ted and 
 fiiMiinc cireunifiance. Zucarelli, a ce- 
 lebrated modern artifi, in his paIntinL!:of 
 Alacbctli and the witches, lias greatly 
 
 f Aricilo, in one of his fjnulics, has introduced fonic o'" 
 iluMc images : 
 
 As when the thun.lcr oVr the ether clears, 
 Slow-iifinj tro.u the rtri)kc the hind appears. 
 Where llrctcird he lay, all rcuu-lef: on the plain, 
 Wh^rc t"..ll beHue him lay hi^ o \en llain ; 
 And fees tile j .nc that once had rai>'d in air 
 Jt> ftaicly Oi»:»*.ht.», now of human care. — IIool: 
 
 heightened
 
 CRITICAL ESSAYS. 377 
 
 heightened the kcnc of horror, by rc- 
 prcfcnting lightning falliiig on a iliilant 
 cafllc. 
 
 -The ::l;>o:nv wootls 
 
 Start rt the fl.-.fh, :i^v\ frzir. tl'cir lUf^ rc:ff% 
 l'/u'u-fiiin\\ng cut ihi'if trc':'.'.'.irs h:r,'.ai:i fi ukc. 
 
 The tliouglit of the woous Aariing at 
 the flafli, has giV.it poetical holilne/s. 
 The context is ahnoll unintclligi!)le ; 
 one fcarcely knou s what to niak-e of the 
 
 * i:idc'f.dinlng ciit^ and the * trLmtilinr 
 
 * viiihitcs.' Pcrh;.ps tlie aiitlior meant 
 that the li'j.htnini: fires the woods, and 
 drives out the birds and bealls tli.it in- 
 habit tlieni. 
 
 Ami J Cutuuivcns ir.ountai.i-, J.!:;t^ I«>u(| 
 The repcrc'.iwive ro;ir : \v.':h mighty ci.fli, 
 Into t!a fl-Jliir.^ '^■^'■W '"':•> t.'.c ru.ic rt.^ks 
 Of Ptuih(i>:n:..iu i;c.:p\l hiJcous to the (kv, 
 Tumble t::c fiiitt-!! chfts ; and S/;iit;ii:n^i peak 
 Dillolvinj, ini;;jit yicUs its wlnuy 1(*.:J : 
 Far feen, the heiijits oi'Iicat'iy Clicviot Ma/r, 
 And ^A^/t b'Jluws t:;rou^h h'.r utmoft jilcs. 
 
 This
 
 378 CRITICAL ESSAYS. 
 
 This Is a mod noble paHagc. Poetry 
 here enables the iir. iginatlon to comprize 
 in one point of view, what could not 
 pofllbly be comprized by the fenfes. 
 Wc fee the rocks falling from the Cam- 
 brian mountains; we fee the heights 
 of Cheviot in flames ; and we hear the 
 thunder echoing t 
 ifles of the ocean. 
 
 thunder echoing through the rcmoteH; 
 
 Our author's defcriptivc powers arc 
 equally confpicuous, in his pi(flure of 
 the fetting in of a froH:. The paf- 
 fage is graphical even to the greatell 
 minutencfs, and is not juflly chargeable 
 with a profulion of verb jfity. 
 
 -At eve 
 
 Stcam'd ca^cr from the rcJ horizon arnunJ, 
 Ulth thf f.fru rage cfu Inter deep fufj'ui'd^ 
 An icy gal,* oft fhifting o'er the pool, 
 Brcatho a blue film, and in its miJ career 
 Arrcft> the bickcrinj; ftrcam. The loofeii'd ice 
 Let dowTi the flood, and h;:lf dillolv'd by day 
 Rullk.<i no more, but to the fidcy bank 
 Kaft ~ro»vn, or gathers round the pointed ftonc, 
 
 A chr\ft4
 
 CRITICAL ESSAYS. 379 
 
 A chryftal pavement, hy the hrtnth :f heaven 
 Cenuntidjirm ; tiil Ici/.'d from fhorc i<» fljorc 
 The whole imprifon'd river ^»;:(7j below. 
 Loud rings tlic fio/cn earth, and h.nrd rcflccl* 
 A ciuhlf ntifc i while, at his cv'ning watch 
 The village dog deters the nightly thief j 
 The heifer low?, ll.e dift.uit waterfall 
 Swells in the bice/e ; and with the harty tread 
 Of tra\eller, the hollow-founding plain, 
 Shakes from afar. 
 
 The Ingenious author of the Elements 
 of Critieifni, under liis he.id of intricate 
 and involved figures that can fcarcely he 
 analyfed or reduced to plain language, -j- 
 has adduced a part of the ahove de- 
 fcription, in example. 
 
 f To deleft and CApLin ncnfcufe. Is no very eafy 
 taSc, it is like difeiitangling a parcel of entangled thread 
 orfilk. Dr. YouNC fays 
 
 Thought difcntanglcs pafTir.g o'er tlic lip. 
 
 But it much oficner entangles pafTing from the pen. 
 A rich harvtll of thtfe intricate and involved figure* 
 might be gathered from his worl:5, and the works of hit 
 imi;ators. Yet he could condemn bomba.l in othcri. 
 
 The
 
 380 CRITICAL ESSAYS. 
 
 Swells in the br«-czc. 
 
 -The i!:tl:mt waterfall 
 
 This cciifurc however is not (Iriiflly 
 juft ; the pair.igc has no confufion of 
 figures, but merely a very hokl cllipfis. 
 The fenfj is too obvious to be millaken i 
 the reader naturally fupplles the word 
 that is cnu'ttcil. * The found of the 
 
 * dillant waterfall fwells in, or rather 
 
 * comes vp'jH the breeze.' 
 
 Thomfon nioflly defcribed what \\z 
 had really fcen, but from the dellrip- 
 tions of ethers, his invagination often 
 formed very llriking and beautiful pic- 
 tures. Sueh are hi-; accounts of the 
 vegetable produiflions of the V\^eft-l!i- 
 dies, and of the fupj^ofcd appearance of 
 the internal parts of AbyiTuiia : 
 
 Bear mc IVir.ona to thy citron grove-. 
 To \vherc the lemon r.nJ the pierciiu'; linic, 
 With the ticepor.m^'c ^l<Aviii^ throii;ih the green. 
 Their !ii:htcr t'loric»> blcr.il. lav nic reclinM 
 I'cncath the r.rcai!in4 tuii.-.r'iiJ th;:t fliakes, 
 Fann'd by l!;e breeze, its L-Vwr-cooIi:;^ fri'::. 
 
 Dee:>
 
 CRITICAL ESSAYS. 381 
 
 Dctp in then: -hi the n::ifiy K-cull flicJ'« ; 
 *^it-mh my hot linib.N, or loaiJ nic throii^li t'lc 
 
 maze, 
 Emhow'ring ciullcr>. of the InJir.ii f:'; 
 Or thrown at gayer c.ife on (kiV2 fair brow ; 
 Let n'.c hehokl, by In^iy iuuy;:iuri\ c'.ztd^ 
 Broad oVr my he.ul the \fi,!.:nt ce>!^r w.ivr. 
 And hit;h pidnutos lift ihur i^raocful fnaJc. 
 C) ftrctch'J ami J thcTc orcIir.r»K of jht- {\.\\\^ 
 Give me toi!i.:in tiv.- coci>.i\ milicy buwl, 
 AnJ from the p.:!. a to i!r.;v.' it^f.efh'rlil•.^ v.iiic. 
 
 —But come my mnfo, t!.e Jif-rtSr-iri^r b-iift 
 A \\\\\ e.xpaiife ff KiVlcfs fuiJ an J Jky; 
 Aiul fv.ifter than t!ie t*'iii:ij caravan, 
 Shoot o\r tliC \a!i- c f Sen..r ; anlv-nt climb 
 The Nubian nvja'Jtaiii'^, arvJ ^,\\: ficrct bounils 
 Of jealous Abyiunia boldl) pivice. 
 
 — Thou like tlKliarmlcfb bccmay'ft frcjlvr.uv^r 
 From mead tumi-ad bii-ht wit!j c.\:iltLd flowers, 
 From jafinine jjrove to^iove ma\ il w.'.ndcr "ay 
 Through palmy ftiade> and arurualic wood-;. 
 That grace the plain-, invcfl t!ie ptirp!v.d hill>. 
 And up the more than Alpiiu* muiintaiiis v/avc. 
 Thereon ilie brce/.y fummir, fpreadin^ fair 
 For many a lea^iuc \ or on fluj)endoU5 rocJ:<, 
 
 f This is a fpccimcn of wh.u Lord Kai?.:. called 
 Thomfon's falfc coin ; a Lrt(x.t niighl i'.d, bui m^nr.urt 
 ccriainly could not. 
 
 That
 
 382 CRITICAL ESSAYS. 
 
 That from the fun-rtiJcuWing vzKc}- left 
 Cool to lHc middle air their bw-ny top>; 
 \Vhtrtp2bcc>, arJ fjiics andvilh?, riff. 
 And garii^> fmi!c around, and cultur'd Sz'Ci 5 
 And fountains guCi ; a uo;!d wltfjn iUVlf 
 Difdainin^ all aiLult. 
 
 The impartial critick never experiences 
 fmccrer plcafurc than when he meets 
 with a paflage fuMimc, pathetic, 2nd 
 beautiful, and withal fo corrtdl, th^t he 
 can allow it praifc without abuttir.er.t. 
 Such a paflagc wc may fafcly pror.cuncc 
 the following : the fixth line, ^fulpnd- 
 • ly Jortiilr.g, ^c* is one of the nncll 
 inftances of alliterative melody in tlie 
 language. 
 
 Unhappy he \ »*=o from the Hril of joys. 
 
 Society, cut off, h left alone 
 
 Amid thi» world of death. D.y afier ^7 
 
 Sad on the jun'.nj eminence he fats. 
 
 And vkws the main that ever toils btlrx. 
 
 Still fonT.y fonr.lnj: in the funheft vcrrc. 
 
 Where tre rourJ ether mixes with tbr wave. 
 
 Ships disa-difccTcrcd drcppir.g froai ^ c!cui> : 
 
 At
 
 CRITICAL ESSAYS. 383 
 
 At evening to the felting fun he turns 
 A nuiurnful c)C, and lUwn hi> tlying heart 
 Sinks hclplefj. ; while th.e wentcil ro.,r is up, 
 Am! hifs continual through the teJious night. 
 
 Nearly of the fame charadcr is tlic 
 dcfcription of a man pcrilhing in the 
 fnow. This is of confulcrable length, 
 and I have l)ecn liberal of quotations ; 
 it fhall therefore futlice to quote the 
 conclufion : 
 
 In vain for him the oliicious wife prepares 
 The fire f.iir-l-la/ing an J t!i'.- \tll;ncat warmj 
 In vain his link* el.ilJren peeping out 
 Into tiic mingling W^Kin vL-.u-inJ their fire 
 VV^ith tear.-, of artlef> i:in(>t\ncr. Alas, 
 Nor wife nor chilli: en r>v.>re laall he IcholJ, 
 Nor frIenJs nor Ticrt*! Lome. ( )n tvery ucrvc 
 The dcailiy winter fei/cs ; Ji uls :./■ fuife, 
 And o'er his innwjft vit.;li f/«v//;/; .:/./, 
 Lays him along the fnows a llitren'd c(»rfe 
 Stretch'd out, and bleaching in i!ic nortliern bl.ift. 
 
 Diftrcfs from accidents of this kind, 
 muft be not unfrequent in a mountain- 
 ous and thinly-inhabited country, like 
 Scotland. Thondon's imagination feems 
 
 peculiarly
 
 384 CRITICAL ESSAYS. 
 
 peculiarly imprtircd with it. Spcakin^ 
 of a pcrfon bewildered by an Ignis FatuuSf 
 he ray>. 
 
 Ri.i'.r snJ horfc sn»i.! the miry r;ii'j»h : 
 "\V}:'1l- ftiil fro-n (by to ib.y, hi> philn^ wife 
 AnJ p! Jntivc chilJren his rLf.irn await. 
 In v.i!Jcur:itvlurc loft. 
 
 Our Author's dc.^jription of fcciics ot 
 horror, derives LTeat force from this in- 
 trodutftion of hum^vJi beiiu^s acflunliy 
 futTcrir^ amidll them. The flory of 
 Cel.idon ?:m\ Ameli.'., and tlic tlia-e hi(l 
 quotatirn?, arc rcmarkaldc inftances. 
 Thcfe ilUiftrations however, though pro- 
 bable, are general and fi<f^itious; but he 
 is fumctimes happy enough to bring 
 real facls in exanij>lc ; when he is de- 
 fcribing the violence of the cold in the 
 polar regions he mentiotis the circum- 
 ftancc of Sir Hugh W'illougliby, whofc 
 fliip was frozen in, while he and all liis 
 company peri Hied : 
 
 —Such
 
 CRITICAL ESSAYS. 385 
 
 Such u-as the Briton's fate. 
 
 As with firft prow (what have not Ijritjns JarM) 
 He for the paflagc fought, attempted fiiicc 
 So much in vain, and fee ming to be (hut 
 By jealous nature witli ctcrnJ bars. 
 In thefcfell regions, in Arzinacau^^ht, 
 And to the ftony deep his idle fliip 
 Immediate fcal'*', Hr withhi\ K:iplff% crcv., 
 Kacli A. II cAcrted at his k\eral tafk, 
 Froze into ftatucs, to the cordage chicd 
 The failor, and the pilot to the helm.^ 
 
 When he is dcfcrihing the tlilcnfcs of 
 hot cliniutes, he inllar.ccs tlicir fatalitv 
 in the cafe of Admiral \'crnon's ficcl at 
 Carthagcna. This pallagc h.is been 
 mentioned by Dr. Warton wiih juH 
 approbation. 
 
 ■ You gallant Vernon Lw 
 
 The miferahle fcene i you p;tving f.'.v 
 Xo infant wc.ikncf . funk tlu- warrior arm. 
 Saw the deep-racking pan.', tlie gluillv il-rni, 
 The lip j).'.!c-c; li'.eri'i:', nriJ die beanilcf> e)c 
 
 I There 13 pcrlnp:> a ll'.;lc pcrricil evagptratlon hrr«, 
 the action cf fr&Il could fcarccly be fo inJlintancou*. 
 
 B h
 
 3S6 CRITICAL ESSAYS. 
 
 No more with ardor bright ; you heard the groans 
 Of agonizing (hip<,t from (horc to fliorr. 
 Heard nightly plung'd amid the fu!!cn waves 
 The frequent corfc. 
 
 Thomfon, in the courfc cf the preced- 
 ing ftriclures, has l>een confidcred chicily 
 in his princ ij^:>l r}i:ir:i<!:trr nf a deicrip- 
 tivc poet ; the dclinc.Uory part of his 
 work aflcr ding the befl fpcciinen of his 
 peculiar manner. His poem however 
 has other merit, for it aboundi with 
 noble (Irokes of pathos, natural philofo- 
 phy, civil liberty, morality, and piety. 
 
 f A bold but poetical metonymy, or fuhiVi:--:oa cf 
 the thing containing, for the thint; contained, cf flii[.' 
 for failcrs. 
 
 FINIS.
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 This book is DUE on the last date stamped below. 
 
 
 M^Z \. 
 
 mt%m^ 
 
 'SKhi 
 
 AUG 7 1965 
 
 
 <v. 
 
 .. ilCT 2 8 ^965 
 OCT 7 1965 
 
 REC'D LD-URC 
 £ JUL i^ 7J 
 
 FOUR WEEKS FROM OAli^ v|>r fu.v««u£it 
 NON-RENEWABLE t, C /f 
 
 AiVi 
 
 7-4 
 
 NOl^ 
 
 «4r^ DISCHARGjyjRi: 
 ^[^.^|H:aJUNl7 1978 
 
 4-9 
 
 PM 
 
 REC'D LD-ffRC 
 
 1C 
 
 
 Form L9-50»rt-'i,'61(B8994s4)444
 
 J 
 
 UC SOUTHERN REGIONAL LIBRARY FACILITY 
 
 A A 001 397 180 9