erally unfolds the truth, but it is not always the whole truth. There is, too, a poetic remedy for human error, that his melancholy temper forbade his applying. It is derived from the religion of hope, faith in man-the genial optimism which some later bards have delightfully advocated. To direct men's thoughts to the redeeming aspects of life, to celebrate the sunshine and the flower as types of Eternal goodness and symbols of human joy, to lead forth the sated reveller and make him feel the glory of the stars and the freshness of the breeze, to breathe into the ear of toil the melodies of evening, to charm the votary of fashion by endearing portraitures of humble virtuethese have been found moral specifics, superior to formal expostulation or direct appeal. Cowper doubtless exerted a happy influence upon his contemporaries, and there is an order of minds to which his teachings are peculiarly adapted. He speaks from the contemplative air of rural retirement. He went thither "to muse on the perishing pleasures of life," to prove that

The only amaranthine flower on earth,

Is Virtue; the only lasting treasure, Truth.

In favor of these principles he addressed his countrymen, and the strain was worthier than any that had long struck their ears. Gradually it found a response, confirmed the right intentions of lowly hearts, and carried conviction to many a thoughtful youth. There was little, however, in this improved poetry, of the "richest music of humanity," or of the electrifying cheerfulness of true inspiration, and

hence, much of it, has lost its interest, and the bard of Olney is known chiefly by a few characteristic gems of moral meditation and graphic portraiture. Our obligations then to Cowper as a teacher, are comparatively limited. He was conscious of a good design, and felt himself a sincere advocate.

'But nobler yet, and nearer to the skies,
To feel one's self in hours serene and still,
One of the spirits chosen by Heaven to turn
The sunny side of things to human eyes.'

The most truly poetic phases of Cowper's verse, are the portions devoted to rural and domestic subjects. Here he was at home and alive to every impression. His dispo sition was of that retiring kind that shrinks from the world, and is free and at ease only in seclusion. To exhibit himself, he tells us, was mortal poison,' and his favorite image to represent his own condition, was drawn from the touching instinct which leads a wounded deer to quit the herd and withdraw into lonely shades to die. He desired no nearer view of the world than he could gain from the busy map of life'-a newspaper; or through the loopholes of retreat, to see the stir of the great Babel and not feel the crowd.' I knew a lady whose feelings in this respect strongly resembled those of Cowper, who assured me, she often wished herself provided like a snail, that she might peep out securely from her shell, and withdraw in a moment from a stranger's gaze behind an impenetrable shield. Such beings find their chief happiness in the sacred privacy of home. They leave every public shrine to keep a constant vigil at the domestic altar. There burns

without ceasing, the fire of their devotion. They turn from the idols of fashion to worship their household gods. The fire-side, the accustomed window, the familiar garden bound their desires. To happy domestic influences Cowper owed all the peace of mind he enjoyed. He eulo. gized the blessing with grateful sincerity.

O friendly to the best pursuits of man,
Friendly to thought, to virtue and to peace,
Domestic life in rural leisure passed!

"Constant occupation without care," was his ideal of existence. Even winter was endeared by its home-enjoyments.

I crown thee king of intimate delights

Fire-side enjoyments, home-born happiness.

It was here that the poet struck a responsive chord in the hearts of his countrymen. He sung of the sofa-a me. morial of English comfort; of home the castle of English happiness and independence ;-of the newspaper-the morning and evening pastime of Englishmen ;—of the 'hissing urn' and the cups that cheer, but not inebriate'the peculiar luxury of his native land;-of the 'parlortwilight,' the winter evening,' the noon-day walk'-—all subjects consecrated by national associations. Goldsmith and Thompson are the poets of rural life, and Cowper completes the charming triumvirate. The latter's love for the country was absolute.

I never framed a wish, or formed a plan,

That flattered me with hopes of earthly bliss,

But there I laid the scene.

His description of the pursuits of horticulture, winter landscapes, and rustic pleasures, eloquently betray this peculiar fondness for the scenery and habits of rural life. Many of these pictures are unique, and constitute Cowper's best title to poetic fame.

SHELLEY

"Was cradled into poetry by wrong,

And learned in suffering what he taught in song."

It is now about eighteen years since the waters of the Mediterranean closed over one of the most delicately organized and richly endowed beings of our era. A scion of the English aristocracy, the nobility of his soul threw far into the shade all conventional distinctions; while his views of life and standard of action were infinitely broader and more elevated than the narrow limits of caste. Highly imaginative, susceptible and brave, even in boyhood he reverenced the honest convictions of his own mind above success or authority. With a deep thirst for knowledge, he united a profound interest in his race. Highly philosophical in his taste, truth was the prize for which he most earnestly contended; heroical in his temper, freedom he regarded as the dearest boon of existence; of a tender and ardent heart, love was the grand hope and consolation of his being, while beauty formed the most genial element of his existence.