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the world to spare their pity, we may justly enlarge our demands upon them for their admiration.

Some few years before his death, he had engaged himself in several considerable undertakings: in all which he had prepared the world to expect mighty things from him. I have seen about ten sheets of his English Pindar, which exceeded any thing of that kind I could ever hope for in our own language. He had drawn out a plan of a tragedy of the Lady Jane Grey, and had gone through several scenes of it. But he could not well have bequeathed that work to better hands than where, I hear, it is at present lodged; and the bare mention of two such names may justify the largest expectations, and is sufficient to make the town an agreeable invitation.

His greatest and noblest undertaking was Longinus. He had finished an entire translation of the Sublime," which he sent to the Reverend Mr. Richard Parker, a friend of his, late of Merton College, an exact critic in the Greek tongue, from whom it came to my hands. The French version of Monsieur Boileau, though truly valuable, was far short of it. He proposed a large addition to this work, of notes and observations of his own, with an entire system of the Art of Poetry, in three books, under the titles of Thought, Diction, and Figure. I saw the last of these perfect, and in a fair copy, in which he shewed prodigious judgment and reading; and particularly had reformed the Art of Rhetoric, by reducing that vast and confused heap of terms, with which a long succession of pedants had encumbered the world, to a very narrow compass, comprehending all that was useful and ornamental in poetry. Under each head and chapter, he intended to make remarks upon all the ancients and moderns, the Greek, Latin, English, French, Spanish, and Italian poets, and to note their several beauties and defects.

What remains of his works is left, as I am informed, in the hands of men of worth and judgment, who loved him. It cannot be supposed they would suppress any thing that was his, but out of respect to his memory, and for want of proper hands to finish whāt so great a genius had begun.

Such is the declamation of Oldisworth, written while his admiration was yet fresh and his kindness warm: and therefore such as, without any criminal purpose of deceiving, shews a strong desire to make the most of all favourable truth. I cannot much commend the performance. The praise is often indistinct, and the sentences are loaded with words of more pomp than use. There is little, however, that can be contradicted, even when a plainer tale comes to be told. with the whigs, whether because they were in power, or because the tories had expelled him, or because he was a whig by principle, may perhaps be doubted. He was, however, caressed by men of great abilities, whatever were their party, and was supported by the liberality of those who delighted in his conversation.

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EDMUND NEALE, known by the name of Smith, was bom at Handley, the seat of the Lechmeres, in Worcestershire. The year of his birth is uncertain. TWY

He was educated at Westminster. It is known to have been the practice of Dr. Busby to detain those youths long at school of whom he had formed the highest expectations, Smith took his master's degree on the 8th of July, 1696; he therefore was probably admitted into the University in 1689, when we may suppose him twenty years old.

His reputation for literature in his college was such as has been told; but the indecency and licentiousness of his behaviour drew upon him, Dec. 24, 1694, while he was yet only bachelor, a public admonition, entered upon record, in order to his expulsion. Of this reproof the effect is not known. He was probably less notorious. At Oxford, as we all know, much will be forgiven to literary merit; and of that he had exhibited sufficient evidence by his excellent ode on the death of the great Orientalist, Dr. Pocock, who died in 1691, and whose praise must have been written by Smith when he had been but two years in the University. Os

This ode, which closed the second volume of the "Musæ Anglicanæ,” though perhaps some objections may be made to its Latinity, is by far the best lyric composition in that collection; nor do I know where to find it equalled among the modern writers. It expresses, with great felicity, images not classical in classical diction; its digressions and returns have been deservedly recommended by Trapp as models for imitation.

He had several imitations from Cowley:

Testitur hinc tot sermo coloribus
Quot tu, Pococki, dissimilis tui
Orator effers, quot vicissim

Te memores celebrare gaudent.
I will not commend the figure which makes the orator
pronounce the colours, or give to colours memory and delight.
I quote it, however, as an imitation of these lines:

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There was once a design, hinted at by Oldisworth, to have made him useful. One evening, as he was sitting with a friend at a tavern, he was called down by the waiter; and, having stayed some time below, came up thoughtful. After a pause, said he to his friend,'“He that wanted me below was Addison, whose business was to tell me that a history of the Revolution was intended, and to propose that I should undertake it. I said, 'What shall I do with the character of Lord Sunderland?' and Addison immediately returned, 'When, Rag, were you drunk last?' and went away.”

Captain Rag was a name which he got at Oxford by his negligence of dress.

This story I heard from the late Mr. Clark, of Lincoln's Inn, to whom it was told by the friend of Smith.

Such scruples might" debar him from some profitable employments; but as they could not deprive him of any real esteem, they left him many friends; and no man was ever better introduced to the theatre than he, who, in that violent conflict of parties, had a prologue and epilogue from the first wits on either side.

But learning and nature will now and then take different courses. His play pleased the critics, and the critics only. It was, as Addison has recorded, hardly heard the third night. Smith had indeed trusted entirely to his merit, had ensured no band of applauders, nor used any artifice to force success, and found that native excellence was not sufficient for its own support.

The play, however, was bought by Lintot, who advanced the price from fifty guineas, the current rate, to sixty; and Halifax, the general patron, accepted the dedication. Smith's indolence kept him from writing the dedication, till Lintot, after fruitless importunity, gave notice that he would publish the play without it. Now, therefore, it was written; and Halifax expected the Author with his book, and had prepared to reward him with a place of three hundred pounds a year. Smith, by pride, or caprice, or indolence, or bashfulness, neglected to attend him, though doubtless warned and pressed by his friends, and at last missed his reward by not going to solicit it.

Addison has, in the “Spectator,” mentioned the neglect of Smith's tragedy as disgraceful to the nation, and imputes it to the fondness for operas then prevailing. The authority of Addison is great; get the voice of the people, when to please the people is the purpose, deserves regard. In this question, I cannot but think the people in the right. The fable is mythological, a story which we are accustomed to reject as false; and the manners are so distant from our own, that we know them not from sympathy, but by study; the ignorant do not understand the action; the learned reject it as a schoolboy's tale; incredulus odi. What I cannot for a moment believe, I cannot for a moment behold with interest or anxiety. The sentiments thus remote from life are removed yet further by the diction, which is too luxuriant and splendid for dialogue, and envelopes the thoughts rather than displays them. It is a scholar's play, such as may please the reader rather than the spectator; the work of a vigorous and elegant mind, accustomed to please itself with its own conceptions, but of little acquaintance with the course of life. 1 Dennis tells us, in one of his pieces, that he had once a design to have written the tragedy of “Phædra;" but was convinced that the action was too mythological.

In 1709, a year after the exhibition of “Phædra," died John Philips, the friend and fellow-collegian of Smith, who, on that occasion, wrote a poem, which justice must place among the best elegies which our language can shew, an elegant mixture of fondness and admiration, of dignity and softness. There are some passages too ludicrous; but every human performance has its faults.

This elegy it was the mode among his friends to purchase for a guinea; and, as his acquaintance was numerous, it was a very profitable poem.

Of his Pindar, mentioned by Oldisworth, I have never otherwise heard. His Longinus he intended to accompany with some illustrations, and had selected his instances of the false sublime from the works of Blackmore.

He resolved to try again the fortune of the stage with the story of Lady Jane Grey. It is not unlikely that his experience of the inefficacy and incredibility of a mythological

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