vice.

The transition from these to Mr. Rogers's Pleasures of Memory, is not
far: he is a very lady-like poet. He is an elegant, but feeble writer.
He wraps up obvious thoughts in a glittering cover of fine words; is
full of enigmas with no meaning to them; is studiously inverted, and
scrupulously far-fetched; and his verses are poetry, chiefly because no
particle, line, or syllable of them reads like prose. He differs from
Milton in this respect, who is accused of having inserted a number of
prosaic lines in Paradise Lost. This kind of poetry, which is a more
minute and inoffensive species of the Della Cruscan, is like the game of
asking what one's thoughts are like. It is a tortuous, tottering,
wriggling, fidgetty translation of every thing from the vulgar tongue,
into all the tantalizing, teasing, tripping, lisping _mimminee-pimminee_
of the highest brilliancy and fashion of poetical diction. You have
nothing like truth of nature or simplicity of expression. The fastidious
and languid reader is never shocked by meeting, from the rarest chance
in the world, with a single homely phrase or intelligible idea. You
cannot see the thought for the ambiguity of the language, the figure for
the finery, the picture for the varnish. The whole is refined, and
frittered away into an appearance of the most evanescent brilliancy and
tremulous imbecility.--There is no other fault to be found with the
Pleasures of Memory, than a want of taste and genius. The sentiments are
amiable, and the notes at the end highly interesting, particularly the
one relating to the Countess Pillar (as it is called) between Appleby
and Penrith, erected (as the inscription tells the thoughtful traveller)
by Anne Countess of Pembroke, in the year 1648, in memory of her last
parting with her good and pious mother in the same place in the year
1616--

"To shew that power of love, how great
Beyond all human estimate."

This story is also told in the poem, but with so many artful innuendos
and tinsel words, that it is hardly intelligible; and still less does it
reach the heart.

Campbell's Pleasures of Hope is of the same school, in which a
painful attention is paid to the expression in proportion as there is
little to express, and the decomposition of prose is substituted for the
composition of poetry. How much the sense and keeping in the ideas are
sacrificed to a jingle of words and epigrammatic turn of expression, may
be seen in