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What though he frown, and to tumult do incline;

I nou the flame

Kindled in his breast canft tame With that Inow which unmelted lies on thine. He feldom indeed fetches an amorous sentiment from the depths of science; his thoughts are for the most part calily understood, and his images such as the superficies of nature readily supplies; he has a juft claim to popularity, because he writes to common degrees of knowledge, and is free at least from philosophical pedantry, uniess perhaps the end of a fong to the Sun may be excepted, in which he is too much a Copernican.' To which may be added the simile of the Palm in the verses on ber palling through a crowd ; and a line in a more serious poem on the Restoration, about vipers and treacle, which can only be understood by those who happen to know the composition of the Tocriaca.

His thoughts are sometimes hyperbolical, and his images unnatural :

The plants admire,
No less than those of old did Orpheus' lyre ;
If the fit down, with tops all tow'rds her bow'd;
They round about her into arbours crowd:
Or if the walks, in even ranks they stand,

Like some well-marshal'd and obfequious band. in another place;

While in the park I sing, the listening deer
Attend my paflion, and forget to fear:
Wheit to the beeches I report my flame,
They bow their heads, as if they felt the same.
To gods appealing, when I reach their bowers,
With loud complaints they answer me in thowets.

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To thee a wild and cruel foul is given,

More deaf than trees, and prouder than the heaven!
On the head of a Stag:

O fertile head! which every year:
Could such a crop of wonder bear!
The teeming earth did never bring
So foon, so hard, so huge a thing :
Which might it never have been cast,
Each year's growth added to the last,

These lofty branches liad fupply*d,
The Earth's bold fon's prodigious pride :
Heaven with these engines had been calid,

Wheŋ mountains heap' on mpuntains fail'd. Sometimes having succeeded in the first part, he makes a feeble conclusion. In the song of “ Sacha" rissa's and Arnorer's Friendship," the two 'last stanzas ought to have been omitted,

His images of gallantry are not always in the higher degree delicate

Then small my love this doubt displace,

And gain Puch trust that I may come
And banquet fometimes on thy face,

But make my constant meals at home.
Some applications may be thought too remote and
unconsequential : as in the verses on the Lady dancing:

The sun in figures such as thçse,
Joys with the moon to play:

To the sweet strains they advance,
Whích do result from their own spheres ;

As this nymph's dance
Moves with the numbers which the hears.
Sometimes a thought; which might perhaps fill a
diftich, is expanded and attenuated till it grows weak
and almost evanescent.

Chloris !

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Chloris ! fince first our calm of peace

Was frighted hence, this good we find,
Your favours with your fears increase,

And growing mischiefs make you kind.
So the fair tree, which still preserves

Her fruit, and state, while no wind blows,
In storms from that uprightness swerves ;

And the glad earth about her Itrows

With treasure from her yielding boughs. His images are not always distinct; as, in the fol, lowing passage, he confounds Love as a person with love as a passion :

Some other nymphs, with colours faint,
And pencil flow, may Cupid paint,
And a weak heart in time destroy;
She has a stamp, and prints the Boy :
Can, with a single look, inflame

The coldest breast, the rudeft tame. His fallies of casual flattery are sometimes clegant and happy, as that in return for the Silver Pen; and sometimes empty and trifling, as that upon the Card torn by the Queen. There are a few lines written in the Dutchess's Tafo, which he is faid by Fenton to have kept a summer under correction. It happened to Waller, as to others, that his success was not al. ways in proportion to his labour.

Of these petty compositions, neither the beauties nor the faults deserve much attention. The amorous verses have this to recommend them, that they are lefs hyperbolical than those of some other

poets.

Waller is not always at the last gasp; he does not die of a frown, nor live upon a smile. There is, however, too much love, and too many trifles. Little things are krade too important ; and the Empire of Beauty is re

presented

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presented as exerting its influence further than can be allowed by the multiplicity of human paffions, and the variety of human wants, Such books, therefore, may be considered as shewing the world under a false appearance, and, so far as they obtain credit from the young and unexperienced, as misleading expectation, and misguiding practice.

Of his nobler' and more weighty performances, the greater part is panegyrical; for of praise he was very lavish, as is observed by his imitator, Lord Lansdown:

No satyr stalks within the hallow'd ground,
But queens and heroines, kings and gods abound;

Glory and arms and love are all the found.
In the first poem, on the danger of the Prince on
the coast of Spain, there is a puerile and ridiculous
mention of Arion at the beginning; and the last pa-
ragraph, on the Cable, is in part ridiculously mean,
and in part ridiculoudy tumid. The poem, however,
is such as may be juftly praised, without much allow-
ance for the state of our poetry and language at that
time.

The two next poems are upon the King's bebaviour at the death of Buckingham, and upon his Navy.

He has, in the first, used the pagan deities with great propriety :

'Twas want of such a precedent as this

Made the old heathen frame their gods amiss. In the poem on the Navy, those lines are very nos ble, which suppose the King's power secure against a fecond Deluge ; fo noble, that it were almost criminal to remark the mistake of centre for furface, or to say that the empire of the sea would be worth little if it were not that the waters terminate in land. S 4

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The poein upon Sallee has forcible sentiments; but the conclusion is feeble. That on the Repairs of St, Paul's has fomething vulgar and obvious; such as the mention of Amphion; and something violent and harsh, as

So all our minds with his conspire to grace
The Gentiles' great apostle, and detace
Those state-obscuring sheds, that like a chain
Seem'd to confine, and fetter him again :
Which the glad faint shakes off at his command,
As once the viper from his facred hand.
So joys the aged oak, when we divide

The creeping ivy from his injur'd fide. Of the two last couplets, the first is extravagant, and the second mean.

His praise of the Queen is too much exaggerated; and the thought, that she “ saves lovers, by cutting “.off hope, as gangrenes are cured by lopping the .46 limb,” presents nothing to the mind but disgust and horror.

Of the Battle of the Summer Ifands, it seems not easy to say whether it is intended to raise terror or merriment. The beginning is too splendid for jest, and the .conclusion too light for seriousness. The versification is studied, the scenes are diligently displayed, and the images artfully amplified ; but as it ends neither in joy nor sorrow, it will scarcely be read a second time.

The Panegyrick upon Csomwell has obtained from s,the publick a yery liberal dividend of praise, which

however cannot be said to have been unjustly layithed; .for such a series of verses had rarely appeared before in the English language. Of the lines fome are grand, some are graceful, and all are musical. There is now

and

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