many others in your Selection, that I cannot forbear quoting it on this occasion. Speaking of Swift and his Poems to Stella, you say, "His exposure of her defects, too, may seem much too free for a lover, or even a husband; and it is easy to conceive that Stella's temper was fully tried in the connection. Yet a woman might be proud of the serious approbation of such a man, which he expresses in language evidently coming from the heart. They are, indeed,

Without one word of Cupid's darts,

Of killing eyes and bleeding hearts;

but they contain topics of praise which outlive the short season of youth and beauty. How much superior to frivolous gallantry is the applause testified in lines like these!

Say, Stella, feel you no content
Reflecting on a life well spent?
Your skilful hand employ'd to save
Despairing wretches from the grave,
And then supporting with your store
Those whom you dragg'd from death before?
Your generous boldness to defend

An innocent and absent friend;

That courage which can make you just

To merit humbled in the dust;

The detestation you express
For vice in all its glittering dress;
That patience under tort'ring pain
Where stubborn stoics would complain ?"*

* These lines would make a very beautiful Glee.

In the Song "As near a weeping spring reclined," (p. 95.) Araminta is represented as mourning for "a false ungrateful youth", when" An aged shepherd",-"in pity's kindest tone", by way of giving her salutary advice, says,

In beauty's empire is no mean,

And woman, either slave or queen,

Is quickly scorn'd when not adored.

and afterwards adds,

For hearts o'ercome with love and grief

All nature yields but one relief:

Die, hapless ARAMINTA, die."

On dying for love I have spoken so often before as to render any farther comment in this place unnecessary.

In the Song, "Sweet maid, I hear thy frequent sigh," (p. 97.) the burden of which is "I sigh for him who lives no more", it would have been better for the supposed writer of it to have followed the example of David on the death of his child; although it created a surprise in his servants, who said to him: "What thing is this that thou hast done? thou didst fast and weep for the child while it was alive; but when the child was dead, thou didst rise and eat bread. And he said, While the child was yet alive, I fasted and wept: for I said, Who

can tell whether God will be gracious to me, that the child may live? But now he is dead, wherefore should I fast? can I bring him back again? I shall go to him, but he shall not return to me". (2 Samuel xii. 21–23.)

In the next Song, "Dried be that tear, my gentlest love," (p. 98.) mention is made of Fate in the first verse, and the lover in the conclusion says to his mistress, "Nor let us lose our heaven here!" an expression, which, thus introduced, I conceive to be, in the most favourable interpretation, too worldly a sentiment.

The sentiment in the last verse of the next, "Ah! tell me not that jealous fear" (p. 99.) I consider as going too far.

In "Too plain, dear youth, these tell-tale eyes" (p. 100.) the expression "for heaven's sake", in the first verse, is lightly introduced. And the lady's appeal to her lover lest her virtue should prove too weak, though it may be in some measure a lesson to men, does not shew a very "spotless" mind, nor a strong sense of the duty of chastity:

Press not for what I must deny,

For fear I should obey.

Resolve not then to do an ill,
Because, perhaps, you may.

'tis a task for me too hard
To strive with love and you.

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The like may be said of the song (p. 102.) "Strephon, when you see me fly". The lady confesses with ease you may deceive me",

and also says

Heaven decrees that we should part;

That has my vows, but you my heart.

The Song to CUPID, on Valentine's day, (p. 105.) is another specimen of heathenism. Britons are represented as adoring his power. And the sentiment,

Love alone can pleasure give,

Only while we love, we live.

either requires the "protest," or the "extended sense", which you have given to a similar one by Lord Lyttelton, in your Letters on poetry before quoted. See p. 234.

The next is translated from Catullus by Dr. Langhorn. P. 106.

Lesbia, live to love and pleasure,

Careless what the grave may say:
When each moment is a treasure,

Why should lovers lose a day?

The love and pleasure" here mentioned I suppose to be unlawful, else" the grave" would not say any thing against it.

Setting suns shall rise in glory;

But when little life is o'er,

There's an end of all the story;

We shall sleep, to wake no more.

I consider this Song as very profligate, and the more so as being written by a clergyman.

Lord Chesterfield is the next author who appears, and in his Song, "When Fanny, blooming fair," (p. 107.) has given us a compound of Loves, Cupid, Jove and Venus, and the whole turn of it is highly voluptuous, totally improper to publish, and discreditable to write.

The next Song, Sir, (p. 108.) you inform us "is designed as a contrast to an address to Wisdom." Wisdom, we are told on Divine authority," is more precious than rubies, and all the things thou cans't desire are not to be compared unto her. Length of days is in her right hand, and in her left hand riches and honour. Her ways are ways of pleasantness, and all her paths are peace." (Prov. iii. 15-17.) But here the author says of the person whom he calls "my my Goddess, earthly born", that she is

Stranger to all the wise explore,

She proves all far-sought knowledge vain.

We have next something bordering upon indelicate respecting Venus and the Tritons. The following verse betrays either an ignorance of that pure state of our first parents, in which blushing had no place, or a despicable sneer against it. See Genesis ii. 25.