she appears so interesting, that we almost doubt whether the garb of elegant refinement is not as captivating, as the most beautiful appearances of Nature."

I have placed before the public, in one point of view, the greater part of what I advanced as the ground-work of my judgment on POPE's rank in poetry; and I can ask whether they observe any symptoms of detraction or depreciation? I have spoken of the sublime, the pathetic, the moral, the satirical, and the descriptive, in poetry; putting the descriptive province last.

Now in your letter, my Lord, you have said nothing of the SUBLIME of poetry, as distinguishing the great Poet, whose eminence in his art has led to this discussion; but I affirm, that in the pathetic, as he yields (and the distance is great) to SHAKESPEARE, the variety of pathos in SHAKESPEARE being considered; yet, if we view POPE's poems together, and remark his consummate EXECUTION of all he performed, though he is INFERIOR to MILTON, and must be so, from the SUPERIOR GRANDEUR of MILTON's subject, the greater exertion of talents required, "according to the uni "versal consent of the critics," and the EQUAL execution; yet in one particular branch of his art, sublimity, POPE yields to DRYDEN, as well as to these great poets; and in another particular branch of his art,—the accurate representation of pictu

resque imagery from external nature,-he yields to THOMSON and CowPER.

As to sublimity, you will see I have spoken of his Ode, compared with one of DRYDEN'S. Will you venture to say, the Ode for Music by POPE is equal to the Ode for Music by DRYDEN, Alexander's Feast, or that Ode spoken of so enthusiastically by Dr. JOHNSON? I think you will hardly do this; and if you do, I believe, my Lord, no critic in England, or Europe, will agree with you.

JOHNSON

I must here make one observation on DRYDEN'S Ode on the death of Mrs. KILLEGREW. speaks of the first stanza as full of enthusiasm, but his criticism is very unappropriate. I will venture to point out one cause of its sublimity. Addressing the departed spirit, the poet exclaims,

"Whether adopted to some neighbouring star,
"Thou ROLL'ST ABOVE us in thy WAND'RING race;
"Or, in procession fix'd and regular,

"MOVEST WITH THE HEAV'NS' MAJESTIC PACE."

These are the images from the sublime of nature,

which give this ode its exalted character.

quote the first lines.

"Thou youngest virgin daughter of the skies,
"Made in the last promotion of the blest ;
"Whose palms, new-pluck'd from Paradise,
"In spreading branches more sublimely rise,
"Rich with immortal green above the rest:
"Whether adopted to some neighbouring star,
"Thou roll'st above us in thy wand'ring race;
"Or, in procession fix'd and regular,
"Movest with the heav'ns' majestic pace;

I shall

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“ Or, call'd to more superior bliss,
"Thou tread'st with seraphims the vast abyss;
"Whatever happy region is thy place,

"Cease thy celestial song a little space."

Now take the stanza of a quite opposite charater.

“The sylvan scenes of herds and flocks,
"And fruitful plains, and barren rocks;
"Of shallow brooks that flow'd so clear,
"The bottom did the top appear;
"Of deeper, too, and ampler floods,
"Which as in mirrors shew'd the woods;
"Of lofty trees, with sacred shades,
"And perspectives of pleasant glades,
"Where nymphs of brightest form appear,
"And shaggy satyrs standing near,
"Which them at once admire and fear.

"The ruins too of some majestic place,

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Boasting the pow'r of ancient Rome or Greece,
"Whose statues, friezes, columns, broken lie,
“And, though defac'd, the wonder of the eye;
“What NATURE, art, bold fiction ere durst frame,
"Her forming hand gave feature to the name."

The commencement is lofty and majestic, and the execution goes on pari passu with the subject; and the subject is from the most glorious objects of contemplation in Nature. In the other stanza quoted, observe that the lady's art in painting as well as poetry is set before us, and this is done by making the subject of her pictures appear as in the living landscapes of NATURE:

"The shallow brooks that flow'd so clear, &c.

"Of deeper, too, and ampler floods,

"Which as in mirrors shew'd the woods;

"The perspectives of pleasant glades,

"Where nymphs of brightest form appear,

"And shaggy satyrs, &c."

Then the picturesque ruins are presented.

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"The ruins too of some majestic place,

Boasting the pow'r of ancient Rome or Greece, "Whose statues, friezes, columns, broken lie, &c."

Dr. JOHNSON says, "the other stanzas are very inferior, inferior indeed:" and why are these superior? for this reason, because the highest views of human contemplation are opened in the first stanza, picturesque beauty in the last, and both according to Nature.

The conclusion of this ode is in the high strain of the beginning; and yet, as objects of artificial life are less poetical than passions which belong to general nature, the mind hardly admits the idea of "the last promotion," in the first stanza, or the word "assizes," relating to the great day of judgment, in the last; because with the expression "assizes" are associated the ideas of artificial life, the "judge's coach," and the javelin men.

I will now only request your Lordship to keep in mind what has been laid down: that art is poetical, but nature, in her sublime or beautiful features, with all their kindred associations, more so; that art, in its combined appearances, is most poetical when connected with associations or views of NATURE, and always, and under all circumstances, POETICAL, (unless the image be vulgar,) when as

SOCIATED With EMOTIONS and PASSIONS of the

HUMAN HEART.

These are my premises: and having laid them down so as they cannot but be inferred from my original observations, unless garbled, I come to meet your Lordship on the fair ground of controversy.

*

On the subject of POPE's poetical character we agree. You say he is inferior to MILTON and SHAKESPEARE. This is all I asked. But the subject of our present discussion is, I think, at all events interesting.

The first question is, "whether images drawn "from what is sublime or beautiful in art or na"ture," be, per se, the more poetical.

Upon this first point we join issue, and stand opposed. You have taken this first axiom, which I thought, if well considered, would not be contended, and have, without periphrasis, promptly and powerfully opposed it. But remark, this is only the first part of a general proposition, as will be seen by referring to what I have said. The other part will be, perhaps, more clearly explained, as we proceed. But first of the first.

* I beg these may be remembered.