that we should, in every work, regard the author's
end. The stag-chase is the main subject of Somerville, and might,
therefore, be properly dilated into all its circumstances; in Pope, it
is only incidental, and was to be despatched in a few lines.

He makes a just observation, "that the description of the external
beauties of nature, is usually the first effort of a young genius,
before he hath studied nature and passions. Some of Milton's most early,
as well as mos't exquisite pieces, are his Lycidas, l'Allegro, and il
Penseroso, if we may except his ode on the Nativity of Christ, which is,
indeed, prior in order of time, and in which a penetrating critick might
have observed the seeds of that boundless imagination, which was, one
day, to produce the Paradise Lost."

Mentioning Thomson, and other descriptive poets, he remarks, that
writers fail in their copies, for want of acquaintance with originals,
and justly ridicules those who think they can form just ideas of
valleys, mountains, and rivers, in a garret in the Strand. For this
reason, I cannot regret, with this author, that Pope laid aside his
design of writing American pastorals; for, as he must have painted
scenes, which he never saw, and manners, which he never knew, his
performance, though it might have been a pleasing amusement of fancy,
would have exhibited no representation of nature or of life.

After the pastorals, the critick considers the lyrick poetry of Pope,
and dwells longest on the ode on St. Cecilia's day, which he, like the
rest of mankind, places next to that of Dryden, and not much below it.
He remarks, after Mr. Spence, that the first stanza is a perfect
concert: the second he thinks a little flat; he justly commends the
fourth, but without notice of the best line in that stanza, or in the
poem:

"Transported demi-gods stood round,
And men grew heroes at the sound."

In the latter part of the ode, he objects to the stanza of triumph:

"Thus song could prevail," &c.

as written in a measure ridiculous and burlesque, and justifies his
answer, by observing, that Addison uses the same numbers in the scene of
Rosamond, between Grideline and sir Trusty:

"How unhappy is he," &c.

That the measure is the same in both passages, must be confessed, and
both poets, perhaps, chose their numbers properly; for they both meant
to express a kind of airy hilarity. The two passions of merriment and
exultation are, undoubtedly, different; th