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ton, if known, appear to be coldly regarded. They seldom go farther back in their selections than the few popular hymns of Addison, or the writings of Young; nor do they seem to think that old English literature contains any thing better to reward their search.

From the Restoration till the comparatively recent period of Young and Blair, we have no sacred poet worthy of the name; for the Messiah of Pope, and a few small pieces by Dryden, no more entitle them to that appellation than an artist would be entitled to the name of a Scriptural painter, because he had sketched an altar-piece. During that period, there were indeed pious men who embodied their devotional feelings in verse, and by prosaic paraphrases left the Psalms, and selected passages of Scripture, much less poetical than they found them. The writings of Cowper formed a new era in sacred poetry; and without exactly investigating the claims of the present time to a higher tone of morals, and more fervent piety than that which has just passed, it may be affirmed, that from the writings of the living poets, Southey, Campbell, Coleridge, Wilson, Bowles, and, above all, Wordsworth, there may be selected a mass of poetry of the most beautiful kind, which breathes a sincere love of pure religion, undisturbed by sectarian distinctions, and untrammelled by petty scruples-and an earnest desire to convey solid instruction through the universal and fascinating medium of verse. Something of this is no doubt attributable to the

spirit of the age, but much of it springs from individual feeling. This is a feature in modern poetry on which it is truly delightful to dwell. Minds less powerful could never have brought religion and literature, so long and generally found repugnant, into friendly alliance, nor so effectually have enlisted the pride of cultivated intellect, and the romance of youthful character, on the side of humanity, justice, and all the Christian virtues. To this cause we attribute the happy change which is already visible on the entire mass of religious writings, whether in prose or verse. Their pitch is raised; and even what was with somewhat of levity styled a "Tabernacle hymn," has become a more polished and chastened composition since the devotional affections of Cowper were breathed in verse as remarkable for chaste simplicity as for warmth and truth.

In stating that these SPECIMENS, continued from the earliest times of English literature, are selected with a view to the gratification as well as the instruction of those whose poetical tastes are in some degree enlarged and cultivated, it will thus be understood why, with the name of Sacred, they are not all directly religious. From that serious, lofty, and contemplative poetry which is fitted to strike the imagination, and to exert a deep and hallowing influence over the affections, many of the finest specimens are taken, to which, though some readers may refuse the name of religious, they cannot deny. a purifying and elevating tendency, disposing the

mind to the reception of divine truth, as the strains of the organ sooth and prepare the heart for a more spiritualized worship. What is meant by this description of poetry, will be easily understood by mentioning such pieces as the Elegy of Gray, Cowper's verses on receiving his Mother's Picture, and, in general, the specimens taken from Vaughan, Marvel, Wordsworth, and other poets. If such verses are not serious and sacred, what are they?

CHAUCER.

BORN 1328-DIED 1400.

"Call up him who left half told
The story of Cambuscan bold.

GEOFFREY CHAUCER, styled "the Father of English Poetry," was born in London in the year 1328. The family is supposed, from the name, to be of Norman origin; but the circumstance of his rank being disputed proves that he was not of very distinguished birth. He was educated at Cambridge, and travelled into Italy; and, it is supposed, visited Petrarch, who was then at Padua. Chaucer enjoyed the patronage of Edward III, during the chivalric reign of that prince, and was connected by marriage with John of Gaunt, who married a sister of Philippa de Rouet, the wife of the poet. This connexion involved Chaucer in all the political struggles of the period, and he was at one time confined in the Tower. Chaucer had a powerful friend and patron in the Duke of Lancaster, through whose influence he obtained several appointments and gratuities, which he, however, lost or resigned in the subsequent reigns. It is supposed that he retired to Woodstock in his sixty-fourth year, and after this, in his "green old age," composed the CANTERBURY TALES. Other traditional accounts represent him living at Donnington Castle, in Berkshire. He died in London on the 25th of October, 1400, aged 72 years, and was buried in Westminster Abbey.

Chaucer was constantly involved in public affairs, and, till past middle life, one of the most stirring spirits of his age. The records of the Inner Temple, at which place he was probably entered after leaving the University, state that he was fined two shillings for beating a Franciscan friar in Fleet-street. He describes himself as corpulent, with a habit of looking on the ground, fond of reading and of walking out in the morning, of which season he has given so many beautiful descriptions. Chaucer cannot be called a sacred poet, but his genius has done homage to religion in many memorable instances. There is religion in the faith of Constance, and in the purity and womanly meekness of Griselda, as well as in the Lamentation of Mary Magdalene, and the beautiful legend of the Little Christian Martyr, whose story we have given as told by that gentle Prioress, who was herself" all conscience and tender herte."

"The poetry of Chaucer," says an eminent modern critic, "has a religious sanctity about it connected with the ⚫ manners and superstition of the age. It has all the spirit of martyrdom."

THE PRIORESS'S TALE.

O LORD, our Lord! how wondrously (quoth she)
Thy name in this large world is spread abroad!
For not alone by men of dignity

Thy worship is performed and precious laud;
But by the mouths of children, gracious God!
Thy goodness is set forth; they when they lie
Upon the breast thy name do glorify.

Wherefore in praise, the worthiest that I may,
Jesu! of thee, and the white Lily-flower
Which did thee bear, and is a maid for aye,

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