for a theme amidst ordinary passions, with which men must sympathize, or in literal facts, which the many might comprehend; but, on the contrary, he plunged at once through the deep, and ventured to the very gates of heaven for creatures with which to people his story. Even when he descended upon earth, it was not to select from the common materials of humanity; but he dropped at once upon Paradise, awoke Adam from the dust, painted the primitive purity of woman, and the erect stature and unclouded aspect of man. He displays a grandeur of conception, a breadth of character, and a towering spirit, pervading the whole of his subject, almost unparalleled in any other poet. He is, perhaps, the greatest epic poet in the world.

Shortly after Milton, appeared Dryden. As a keen satirist, and as a writer of sensible, masculine verse, few, if any, surpass him. But, as a poet, he is of a different order from those who adorned the reigns of Elizabeth and James, and occupies, decidedly, a lower step. He was a writer of shrewd sarcasm, and of excellent good sense; but he was deficient in imagination, in pathos, and in nature, to constitute him a poet of the highest order. Of Dryden, however, it may be said, that he formed the language, and improved the melody of English verse.

Contemporary with Dryden, lived Lee. Shortly afterwards flourished Dorset, John Phillips, Rowe, Parnell, Garth, Addison, Prior, Vanbrugh, Congreve, Gay, and the well-known Alexander Pope.

Pope had the same good sense, the same stinging sarcasm as his predecessor Dryden, but he had greater refinement, and clearer views of morality. He shot his sharp arrows at the heart of the proud man and the knave, the timeserver and the hypocrite; he spared neither rank, nor sex, nor age, if it were impudent and profligate. He was a great writer of the same genius as Dryden, and, upon the whole, his equal. His poetry is characterized by a most melodious versification, splendid diction, and copious imagery, and contains passages of great pathos, piercing satire, and admirably turned compliment.

Next, in order of time, but far inferior in merit, we may mention Swift, a stern, shrewd, and sarcastic writer of verse; and Thomson, who looked on Nature with an easy but observant eye, and transcribed her varying wonders to

man; Young, known for his "Night Thoughts;" Churchill, a coarse and immoral satirist; Shenstone, Akenside, and Armstrong, are minor poets; Goldsmith and Gray are distinguished, not, perhaps, for any great powers of imagination or fancy, but for their elegance and simplicity of expression.

At

During the eighteenth century, poetry had become feeble and mechanical, principally arising from an imitation of the monotonous versification which Pope had introduced, last, Cowper, disdaining to deal in the mechanical versification and nerveless common-place poetry which were the fashion of his day, sought for inspiration in a noble and affecting subject, fertile in images, and which had not yet been hackneyed;-that subject was Religion. To Cowper, sick of the languid manner of his contemporaries, ruggedness seemed a venial fault, or rather a positive merit. In his hatred of meretricious ornament, and of what he calls creamy smoothness," he erred on the opposite side.

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style was too austere, his versification too harsh. But it is not easy to overrate the service which he rendered to literature. He was the forerunner of a noble race of poets. Wordsworth, Byron, Coleridge, Southey, Scott, Campbell, and Moore, have consummated what he began a revolution in English poetry.

The Advantages resulting from a judicious study of Poetry. Several reasons concur in recommending Poetry as a subject deserving the study of all, and particularly of the young. 1st, It enlarges the understanding, and improves the taste. We hope the student distinctly bears in mind, that true poetry is not mere rhyme, nor mere metre-but a creative energy, which combines into new forms, and imparts to material objects or abstract ideas-life, and sentiment, and emotion. Rightly and fully, then, to comprehend and relish the frequent compressed arguments, the mythological or historical allusions, the moral, scientific, or philosophical truths contained in the productions of our best poets, disciplines and instructs, as well as delights the mind. For, a person must think to understand. This is one reason, that mere rhymers are generally preferred to real poets by common readers, who either cannot or will not think, and seek amusement rather than instruction. Even men possessed of some scientific knowledge, but who are unaccustomed to read poetry, frequently affix the most ludicrous construction to passages sufficiently intelligible to well educated youths of thirteen or fourteen years of age.-The attentive reader of good poetry will frequently be struck, not merely by the sentiment, but by the mode of expression. He will find that the thoughts are not only distinctly expressed, but expressed in the fewest words possible, so as to produce a strong and lasting impression.

2nd, An individual, whose mind has been properly instructed, can, when he is fatigued by the turmoil of business, or depressed by the vicissitudes of fortune, find nothing more cheering than to wander in the fields of poetry. Far from the dusty and busy haunts of men, he is here transported to a brighter and nobler scene. Here he enjoys an unclouded sky, a purer atmosphere, fields that are ever green, and flowers that never decay. Hill and dale, river and wood, the gently flowing stream, and the roaring torrent, are all presented in due proportion, to please the eye and gratify the heart. Here he holds converse with the sons of heaven-born intellect, becomes warmed by their descriptions, wiser by their counsels, and ennobled by their sentiments.

3rd, But Poetry has a still greater claim to our attention. It is highly conducive to morality; for, when noble thoughts and virtuous principles are presented to the mind, clothed in all the fascinations of verse, can we doubt that they will make a permanent impression upon the mind and heart? True it is, that we have many poems abounding with verses of a most immoral nature, but, it is equally true, that we have numerous other poems breathing the purest and most exalted sentiments, in language the most engaging and persuasive. Are we not, then, acting in accordance with the dictates of sound wisdom, in availing ourselves of so powerful an auxiliary to virtuous actions, in thus storing up, against the day of temptation, feelings of purity, and gentleness, and high aspirings? The prophet Moses, when escaped from the host of Pharoah, David, the sweet singer of Israel, the sublime Isaiah, and the pathetic Jeremiah, gave utterance to their feelings of joy, of gratitude, and of devotion, in all the power and harmony of verse; nor did the disciples of the lowly JESUS neglect to celebrate, in "psalms, and hymns, and spiritual songs," the high praises of their great Redeemer. In fact, to the power of poetry, all ages, and all countries, the rudest as well as the most enlightened, bear witness. Since its first great masterpieces were produced, every thing that is changeable in this world has been changed. Religions, and languages, and forms of government, and usages of private life, and modes of thinking, all have undergone a succession of revolutions. Every thing has passed away but the great features of nature, the heart of man, and the miracles of poetry. "The Poems of Homer," observes a writer in the Edinburgh Review, "the wonder of ninety generations, still retain all their freshness. They still command the veneration of minds, enriched by the literature of many nations and ages. Having survived ten thousand capricious fashions, having seen successive codes of criticism become obsolete, they still remain, immortal with the immortality of truth, -the same when perused in the study of an English scholar, as when they were first chanted at the banquets of the Ionian princes."

With respect to the mode in which the study of Poetry ought to be conducted, we shall quote the judicious remarks of a very intelligent writer in the Journal of Education, No. 6. His words are as follow:-"It is to youths whose minds are awakening from the dreams of childhood, whose imaginations are kindling with the glow of enthusiasm, but whose powers of reason are yet too weak sufficiently to temper and chasten their feelings, that the study of Poetry offers peculiar attractions; and it is precisely with such that, according as the models and examples presented to them are or are not judiciously selected, that study may prove an instrument of much good or evil in the formation of character. A youth of ardent temperament, whose taste has already been somewhat formed by an acquaintance with the better class of prose compositions, can hardly fail to have that taste refined by acquiring a competent knowledge of our standard poets. As a means of imparting this knowledge, the judicious parent or instructor will not hesitate to avail himself of some well-chosen selection, rather than place entire works in the hands of his pupil; and this course will be chosen, as much with the view of bringing together for exemplication and contrast, the various beauties of style and sentiment exhibited in different authors, as of excluding all passages whose tendency is gross or demoralizing: it being too frequently seen that the noblest sentiments, the most refined poetical taste, and the purest morality, are associated in the same volume, with meanness, ribaldry, and vulgarity. In thus recommending a selection from the Works of our poets for the use of students, we must not be suspected of sanctioning a similar course with regard to other branches of knowledge. The cases, in fact, are wholly dissimilar, since much of the poetry which we would wish to be read, has no particular connection with other portions of the volumes from which it is taken. But, were it otherwise, such an inconvenience would be more than counterbalanced by the advantage on the score of morality to which we have here adverted.

"To produce all the good effects which this course of study may be rendered capable of yielding, it will not be enough that poetical compositions, however excellent, be merely placed in the hands of the scholar, or that the instructor should content himself with hearing a certain number of verses periodically read by his pupil;-a task which we are well aware may be performed with great propriety of emphasis and intonation, while, at the same time, the reader continues insensible to all the real beauties of the author. To produce any lasting or beneficial impression, readings of poetry should be accompanied by remarks, both critical and explanatory, on the part of the tutor: peculiarities and beauties, whether of language or sentiment should be pointed out; imperfections must be noticed; and the style of one author placed in contrast with that of another. By such means the mind of the pupil will be opened, his critical perceptions will be awakened and exercised, and his taste and judgment cannot fail to be improved." Two works may be here recommended; "Readings in Poetry," published by the Society for Promoting Christian Knowledge; and "Aiken's British Poets."

OF THE DIFFERENT SPECIES OF POETRY.

Pastoral Poetry. Pastoral Poetry is a description of rural objects; it recalls to our imaginations those gay scenes and pleasing views of nature, which are commonly the delight of our childhood and youth; and to which, in more advanced years, men generally recur with pleasure.

Amidst rural objects, nature presents, on all hands, the finest field for description; and nothing appears to flow more, of its own accord, into poetical numbers, than rivers and mountains, meadows and hills, flocks and trees, and shepherds void of care. Hence, this species of poetry has, at all times, allured many readers, and excited many writers.

Pastoral poetry seems not to have been so early cultivated as some of the other species of poetry. It was not till men had begun to be assembled in great cities, after the distinctions of rank and station were formed, that pastoral poetry assumed its present appearance. Men then began to look back upon the more simple and innocent life which their forefathers led, or which at least they fancied them to have led; they looked back upon it with pleasure; and in those rural scenes and pastoral occupations, imagining a degree of felicity to have taken place superior to what they then enjoyed, conceived the idea of celebrating it in poetry. It was in the court of king Ptolemy, that Theocritus wrote the first Pastorals with which we are acquainted; and, in the court of Augustus, he was imitated by Virgil.

The great charm of Pastoral poetry arises from the view which it exhibits of the tranquillity and happiness of a rural life. This pleasing illusion, therefore, the poet must carefully sustain. He must display to us all that is agreeable in that state, but hide whatever is displeasing. He must paint its simplicity and innocence to the full, but he must cover its rudeness and misery.

Distresses, indeed, and anxieties, he may attribute to it; but it is the pastoral life, embellished and beautified, at least seen on its fairest side only, that the poet ought particularly to present to us. In embellishing Nature, he must not altogether disguise her, or join with rural simplicity and happiness, such improvements as are unnatural and foreign to her. If it is not exactly real life which he presents to us, it must, however, have its resemblance.

The scene must always be laid in the country, and distinctly drawn and set before us. A good poet will particularize his objects, and diversify the face of nature, by presenting to us such new images as may correspond with the emotions or sentiments which he describes.

With respect to the characters which ought to be introduced into Pastorals, they must be persons who are wholly engaged in rural occupations. They may be supposed to possess good sense and reflection, sprightliness and vivacity; they may have tender and delicate feelings, since these are, more or less, the portion of men in all ranks of life.

They must not, however, deal in abstract reasoning, and still less in the points and conceits of an affected gallantry; but must speak the language of plain sense, and natural feelings.

The subject of Pastoral poetry should comprehend the various adventures which give occasion to those engaged in a country life, to display their disposition and temper; the scenes of domestic felicity or disquiet; the attachment of friends and of relatives; the rivalship and competitions of lovers; the unexpected successes or misfortunes of families.

Were the narrative and the sentimental judiciously intermixed with the descriptive in this kind of poetry, it would become much more interesting to the generality of readers.

The Pastoral Ballad of Shenstone is considered the best poem of this kind in the English language; and the Gentle Shepherd of Allan Ramsay, written in the Scottish dialect, has also obtained great celebrity.

Lyric Poetry. The term ode signifies, in Greek, the same as song or hymn, and Lyric poetry implies, that the verses are accompanied with a lyre, or musical instrument.

All Odes may be comprised under four denominations. First, Sacred Odes; as, hymns addressed to God, and composed on religious subjects; such are the Psalms of David, which exhibit this species of poetry in the highest degree of perfection. Secondly, Heroic Odes, which are composed in praise of heroes, and in the celebration of martial exploits and great actions. Of this kind are Pindar's Odes, and some few of Horace's. These two kinds ought to have elevation and sublimity for their reigning characters. Thirdly, Moral and Philosophical Odes, where the sentiments are chiefly inspired by virtue, friendship, and humanity. Of this kind are many of the odes of Horace, and several of our best modern Lyrical compositions; and this species may be said to possess a middle station. Fourthly, Festive and Amorous Odes, calculated merely for pleasure and entertainment. Of this nature are all Anacreon's; some of Horace's; and many songs and modern productions that belong to the Lyric species. The characteristic of these ought to be elegance, smoothness, and gaiety.

In Greek, the principal Lyric poets are, Pindar, Euripides, Sophocles, and Anacreon; in Latin, Horace.

In our own language we have several Lyric compositions of considerable merit; among which are Milton's Allegro