backward in acknowledging, bear abundant testi mony. An attempt to assign the superiority of merit to either of the four poems in this volume, would be illjudged, for each reader will be inclined to prefer that which conforms most to his own particular taste. As each poem, however, has distinct and peculiar characteristics, it will not be improper to point them out succinctly to the attention of the reader. The Pleasures of Imagination is, beyond doubt, the most uniformly exalted in its topics and allusions, it takes the widest range in the management of its subject, and is the most avowedly philosophical work of the series. It is, at the same time, the most difficult to comprehend, being in many passages disagreeably obscure. Its composition probably required a greater exertion of reflective talent than any of the others. It abounds in profound analyses and deductions, which could not have been effected without great powers of ratiocination. There is in it, besides, sufficient indication of a fervid fancy and an inventive imagination, to mark the author a true poet. But whether these high attributes will, in the opinion of the majority of readers, atone for the absence of simplicity, ease, and perspicuity, and of every thing resembling those delightful homefelt passages to be found in each of the other poems, may be doubted. It may, however, be safely asserted that a respectable minority at least, will be disposed to regret the almost entire absence of the latter qualities, and to think that an additional sprinkling of them, would have been a desirable substitute for much of the magnificent philosophy and elevated imaginings which now characterize the poem. The Pleasures of Memory has indications of being written with more caution and labour than any of the sister poems. Its topics and images seem to have been selected with much care and some timidity, although always with judgment and in accordance with true taste. Its versification is so smooth and equable, that it is almost monotonous. It has, in fact, been polished to attenuation. This extreme guardedness has rendered this agreeable poem inferior to the others in the range of its thoughts and in the freedom of its diction; but it has apparently the highest mechanical finish of them all. The Pleasures of Hope is perhaps the most brilliant didactic poem in the language; and it is correspondingly popular. It takes a sufficiently wide and elevated view of the pleasing influence of Hope, and selects topics for the illustration of that influence, which are naturally well adapted for poetical representation. It handles these with a freedom often partaking of abruptness, and turns off into digressions sometimes scarcely connected with the main subject, and but remotely elucidative of it, yet so beautiful that no reader would consent to their extinction. The versification of this poem is, taken altogether, perhaps the most exquisite specimen of the ten syllable couplet in the language. No poem of Pope-not even Eloisa to Abelard-surpasses it in mellifluousness; while in freedom, ease, and variety of movement, it seems to leave even that melodious poem behind. Its characteristic beauties are boldness, energy, and dignity of thought, and terseness, gracefulness, and harmony of expression. Its chief blemishes are an occasional obscurity of reasoning, an abruptness in changing the topics, and too great a remoteness of application in the illustrations. The Pleasures of Friendship differs from the preceding poems in the more tangible nature of its subject. Imagination, Memory, and Hope are faculties; Friendship is a feeling. Our ideas of the first three are abstract conceptions which we form of certain powers or operations of the mind; the last is a palpable, pleasing sensation whose seat is in the heart, whose presence is welcomed and cherished, and whose influence pervades almost every occurrence of life. This poem is, in consequence, more practical in its tone, more homefelt in its topics, and generally more heart-warming in its delineations than any of the others. In regard to its versification, if it has not the pomp and the sounding energy of the Pleasures of Hope, it has equal variety and ease, and more simplicity, clearness, and spontaneous melody. Its couplets are much less laboured, and may not, therefore, be so compact and equable as those of the Pleasures of Memory, but they flow with more grace and freedom; and, while they have more volubility, they have, at least, equal sweetness. The chief power of this poem consists in its pathos; and in reference to its sisters in this collection, it is favourably distinguished for its perspicuity, and the close applicability of its illustrations. Its descriptions are uniformly true to nature, and its language is at once highly poetical and remarkable for vernacular purity and precision. Being the least abstract poem in the volume, it has the fewest flights into the airy regions of speculation. By some, this may be considered a defect, while others, who prefer the poetry which touches the heart to that which exercises the intellect, will deem it an advantage. This comparison of the leading characteristics of these four noble poems, has been made designedly short, because a more minute investigation of the peculiar merits and defects of each will appear prefixed to it, in its proper place in the volume. |