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destitute of any strong or continuous interest. The Rosicrucian machinery of Pope was united to the delineation of human passions and pursuits, and became the auxiliary of wit and satire; but who can sympathise with the loves and metamorphoses of the plants? Darwin had no sentiment or pathos except in very brief episodical passages, and even his eloquent and splendid versification, for want of variety of cadence, becomes monotonous and fatiguing. There is no repose, no cessation from the glare of his bold images, his compound epithets, and high-toned melody. He had attained to rare perfection in the mechanism of poetry, but wanted those impulses of soul and sense, and that guiding taste which were required to give it vitality, and direct it to its true objects.
Invocation to the Goddess of Botany.- From the ‘Botanic Garden.'
“Stay your rude st ps! whose throbbing breasts infold
But thou whose mind the well-attempered ray
"And if with thee some hapless maid should stray,
Winds of the north ! restrain your icy gales
Hither, emerging from yon orient skies,
And arms her zephyrs with the shafts of love.
* Economy of Vegetation.'
Gave the soft south with poisonous breath to blow,
Death of Eliza at the Battle of Minden.- From the 'Loves of the Plants.'
Now stood Eliza on the wood-crowned height,
O spare, ye war-hounds, spare their tender age;
From tent to tent the impatient warrior flies,
Mamma's asleep upon the de-cold sand;'
* Alas! we both with cold and hunger quake
She'll wake no more!'the hapless mourner cried,
0 heavens!'he cried, 'my first rash vow forg
Song to May- From the ‘Loves of the Plants.'
Light graces decked in flowery wreaths Sweet May! thy radiant form unfold; And tiptoe joys their hands combine; Unclose thy biue voluptuous eye,
And Love his sweet contagion breathes, And wave thy shadowy locks of gold. And, laughing, dances round thy shrine. For thee the fragrant zephyrs blow, Warm with new life, the glittering throng
For thee descends the sunny shower; On quivering fin and rustling wing, The rills in softer murmurs flow,
Delighted join their votive song, And brighter blossoms gem the bower. And hail thee Goddess of the spring!
Song,to Echo.- From the same. Sweet Echo! sleeps thy vocal shell, Be thine to pour these vales along Where this high arch o'erhangs the dell; Some artless shepherd's evening song; While Tweed, with sun-reflecting streams, While night's sweet bird from yon high Checkers thy rocks with dancing beams. spray
Responsive listens to his lay. Here may no clamours harsh intrude, No brawling hound or clarion rude; And if, like me, some love-lorn maid Here no fell beast of midnight prowl, Should sing her sorrows to thy shade. And teach thy tortured cliffs to howl. Oh! soothe her breast, ye rocks around,
With softest sympathy of sound.
MISS SEWARD. ANNA SEWARD (1747–1809) was the daughter of the Rev. Mr. Seward, canon-residentiary of Lichfield, himself a poet, and one of the editors of Beaumont and Fletcher. This lady was early trained to a taste for poetry, and, before she was nine years of age, she could repeat the first three books of Paradise Lost. Even at this time she . says, she was charmed with the numbers of Milton. Miss Seward wrote several elegiac poems-an Elegy to the Memory of Captain Cook,' a 'Monody on the Death of Major André,' &c.--which, from the popular nature of the subjects, and the animated though inflated style of the composition, enjoyed great celebrity. Darwin complimented her as 'the inventress of epic elegy; and she was known by the name of the Swan of Lichfield. A poetical novel, entitled
* Those who have the opportunity may compare this death-scene (much to the advantage of the living author) with that of Gertrude of Wyoming, which may have been suggested. very remotely and quite unconsciously, by Darwin's Eliza. Sir Walter Scott excels in painting battle-pieces, as overseen by some interested spectator. Eliza at Minden is circumstanced so nearly like Clara alt Fludden, that the mighty Minstrel ot the North may possibly have caught the idea of the latter from the Lichfield botanist: but oh, how has he triumphed - Montgomery's Lectures on Poetry, 1833,
'Louisa,' was published by Miss Seward in 1782, and passed through several editions. After bandying compliments with the poets of one generation, Miss Seward engaged Sir Walter Scott in a literary correspondence, and bequeathed to him for publication three volumes of her poetry, which he pronounced execrable. At the same time she left her correspondence to Constable, and that publisher gave to the world six volumes of her letters. Both collections were unsuccessful. The applauses of Miss Seward's early admirers were only calculated to excite ridicule, and the vanity and affectation which were her besetting sins, destroyed equally her poetry and prose. Some of her letters, however, are written with spirit and discrimination.
THE ROLLIAD. A series of political satires, commencing about 1784, and written by a few men of wit and fashion, attracted much attention, and became extensively popular. They appeared first in a London newspaper, the earliest--from which the name of the collection was derived-being a satire on Colonel, afterwards Lord Rolle. The ‘Rolliad '-consisting of pretended criticism on an imaginary epic poemwas followed by · Probationary Odes for the Laureateship,' and `Political Eclogues.' The design of the ‘Probationary Odes' was probably suggested by Pope's ridicule of Cibber; and the death of Whitehead, the poet-laureate, in 1785, was seized upon by the Whig wits as affording an opportunity for satirising some of the political and literary characters of the day, conspicuous as members or súpporters of the government. Pitt, Dundas, Jenkinson (Lord Liverpool), Lord Thurlow, Kenyon, Sir Cecil Wray, Dr. Prettyman (afterwards Bishop of Winchester), and others, were the objects of these humorous sallies and personal invectives; while among literary men, Thomas Warton, Sir John Hawkins, and Macpherson (the translator of ‘Ossian '), were selected for attack. The contributors to this gallery of burlesque portraits and clever caricatures were: 1. DR. LAURENCE (called French Laurence') the friend of Burke, who was the chief editor or director of the satires: he died in 1809. 2. GENERAL RICHARD FITZPATRICK (1747–1813), a brother of the last Earl of Upper Ossory, who was long in parliament, and held successively the offices of Secretary-at-war and Irish Secretary. Fitzpatrick was the intimate friend of Charles James Fox-a fact recorded on his tomb
—and his quatrain on that eminent statesman may be quoted as remarkable for condensed and happy expression:
A patriot's even course he steered,
'Mid faction's wildest storms unmoved; By all who marked his mind revered,
By all who knew his heart beloved. 3. RICHARD TICKELL, the grandson of Addison's friend, and the brother-in-law of Sheridan, besides his contributions to the Rolliad, was author of The Wreath of Fashion' and other poetical pieces,