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Tickell, which at least place him on a level with his patron as a poet. His Colin and Lucy is one of the most sweetly pathetic poems in the language.

Broome, though, honourably associated with Pope in the work of translation, seems to have had scarcely any other merit than this to bear him down the stream of time.

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Trapp wrote Latin verse with elegance, and was a good critic; but it has been observed of his Virgil, that he had done wisely to have stopped at his preface.

The genius of Collins seems in some measure to have resembled that of Tickell. Dignity, solemnity, and pathos, are the striking features of his compositions. None but a true poet could have written the song over Fidele in Shakespeare's Cymbeline..

The English Tibullus, Hammond, has written truly elegant verse; but I know not whether his representations greatly affect the heart, though they are approved by the judgment and imagination. They have, however, served as patterns for the lovesick nymphs and swains, who delight in giving vent to their passion in the language of poetry.

Love and its effects were beautifully described by the elegantly sensible Lord Lyttleton. To assert that he was remarkable for poetical genius, were to lessen, by endeavouring to exaggerate, his praise. Force, fire, and exuberance of invention, were not his excellencies; but that equable beauty of sentiment and diction, which results from an elegant mind. The graces distinguish his compositions as the virtues marked his honourable life.

Moore's Fables display indubitable marks of genius; but he wants the simplicity of Gay and Fontaine. He shows, however, a talent for description

which would have shone in the higher kinds of poetry; and a delicacy of mind, which, it might be supposed, could be acquired only in a higher sphere than that in which he was born.

Genius and learning were possessed in a very eminent degree by Merrick. He had that peculiar kind of genius which qualified him to excel in the department of sacred poetry. It is to be wished, that his version of the psalms were adopted in churches, where the congregations are learned and polite, not only in the place of Sternhold and Hopkins, but of Brady and Tate. Such an event would be no less advantageous to piety, than to taste; though happily the common congregations are not fastidiously nice in their taste for poetry.

NO. CLXXVI.

CURSORY AND UNCONNECTED REMARKS

ON SOME OF THE MINOR GREEK POETS.

THE intrinsic graces of the classic writers have charmed every mind which was susceptible of the beauties of spirit, taste, and elegance. Since the revival of learning, innumerable critics have employed themselves in displaying the beauties which they felt, or in removing the difficulties and obstructions which retarded their progress in the perusal of the ancients. At present, there is scarcely any room for criticism on them; and the most laborious commentator finds, with regret, his profoundest researches, and his acutest remarks, anticipated by the lucubrations of former critics; but as there is - scarcely a greater difference between the features of the face, than between the faculties of the mind in different men, and as objects must strike various

feelings in various manners, the works of taste and genius may, on different reviews, furnish inexhaustible matter for critical observation. Upon this principle, authors of the present age venture to add to the labours of their predecessors, without fearing or incurring the imputation of vanity or impertinence.

The present remarks shall be confined to some of the Greek Minor Poets, without minutely attending to chronological, or any other order.

In the union of dignity with sweetness, of melody with strength, the Greek is better adapted to beautiful composition, than any modern language. The Italian has all its softness, but wants its force. The French possesses elegance and expression, but is dedeficient in sound and dignity. The English is strong, nervous, flowery, fit for animated oratory and enthusiastic poetry, but abounds with Saxon monosyllables, ill adapted to express the music of mellifluous cadence. To compare the Dutch and the German with the language of Athens,. were to compare the jarring noise of grating iron, with the soft warblings of the flute. The other languages of Europe are equally unfit for harmonious modulation, and indeed cannot properly be examined in this place, as the people who speak them have not yet distinguished themselves by any writings truly classical.

The Greek Epigram naturally falls first under our present consideration. Of these little compositions, which owe their origin to Greece, none can be insensible of the beauty, whose taste is not vitiated by the less delicate wit of the modern Epigrammatist. Indeed, to relish the simple graces of the Greek Epigram, the taste must not be formed upon the model even of the celebrated Martial. Among the Latin

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poets, Catullus approaches nearest to the Greeks in this species of composition.

The Anthologiæ, still extant, are written by various authors, and there are scarcely sufficient Epigrams of any one, to discriminate his manner from that of others. Suffice it to remark, in general, that their beauty does not often consist in a point, or witty conceit, but in a simplicity of thought, and a sweetness of language.

The golden verses of Pythagoras, though not remarkable for splendour of diction, or flowing versification, are yet highly beautiful in the concise and forcible mode of inculcating morality, and virtues almost Christian. The earlier philosophers of Greece conveyed their tenets in verse, not so much because they aspired at the character of poets, as because precepts, delivered in metre, were more easily retained in the memory of their disciples. Pythagoras has comprised every necessary rule for the conduct of life in this little poem, and he that commits it to memory, will not want a guide to direct his behaviour under any event: but though the morality of these verses is their more valuable beauty, yet are they by no means destitute of poetical merit.

That generosity of soul, which ever accompanies true genius, has induced the poets and philosophers of all ages to stand forth in the cause of liberty. Alcæus, of whose merits from the monuments of antiquity we may form the most exalted idea, first raised himself to eminence by a poem, entitled Stasiotica, in a violent invective against tyrants in ge neral at Pittacus, at that time the tyrant of Athens, It has not escaped the general wreck, and we have only a few broken specimens of this celebrated wri

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ter's works preserved by the ancient grammarians. We must, therefore, be content to learn his character from the judicious Quinctilian, and the learned Dionysius of Halicarnassus: the former of whom asserts, that he was concise, sublime, accurate, and in many respects resembled Homer: the latter, that he had a grandeur, brevity, and sweetness, equally blended throughout all his compositions.

Stesichorus, according to Quinctilian, was remarkable for strength of genius. He gave to lyric poetry all the solemnity of the Epopoa. Had he known how to restrain the impetuosity of his genius, it is said, he would have rivalled Homer: but, unfortunately, the noble warmth of his temper urged him beyond the bounds of just writing, and he seems to have failed of excellence by a redundancy of beauties.

The fragments of Menander are sufficiently excellent to induce every votary of learning to regret the loss of his works. Some indeed have thought, that time never gave a greater blow to polite literature, than in the destruction of the Comedies of Menander; but as Terence has preserved his spirit and his style, perhaps the want of the original is compensated by the exact copyings of that elegant author. Quinctilian, from whose judgment there is scarcely an appeal, has represented Menander as alone sufficient to form our taste and style. The few remains, preserved by Stobæus, whether the beauty of the sentiments, or the purity of the diction be regarded, must be pronounced uncommonly excellent. They are, however, too generally known to - require illustration.

Simonides is characterised by Longinus, as a poet

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