A person engaged in the pursuit of literary fame must be severely mortified on observing the very speedy neglect into which writers of high merit so frequently fall. The revolution of centuries, the extinction of languages, the vast convulsions which agitate a whole people, are causes which may well be submitted to in overwhelming an author with oblivion; but that in the same country, with little variation of language or manners, the delights of one age should become utter strangers in the next, is surely an immaturity of fate which conveys reproach upon the inconstancy of national taste. That noble band, the English poets, have ample reason for complaining to what unjust guardians they have entrusted their renown. While we crown the statue of Shakespeare as the prince of dramatic poets, shall we forget the works, and almost the names of his contemporaries who possessed so much of a kindred spirit? Shall the Italian Pastor Fido and Amyntas stand high in our estimation, and the Faithful Shepherdess, the most beautiful pastoral that a poet’s fancy ever formed, be scarcely known amongst us? Shall we feel the fire of heroic poetry in translations from Greece and Rome, and never search for it in the native productions of our own country?

The capital work of Sir William D’Avenant, which I now desire to call forth from its obscurity, may well be considered as in a state of oblivion, since we no where meet with allusions to it, or quotations from it, in our modern writers; and few, I imagine, even of the professed students in English classics, would think their taste discredited by confessing that they had never read Gondibert. A very learned and ingenious critic, in his well-known discourse upon poetical imitation, has, indeed, taken notice of this poem; but, though he bestows all due praise upon its author, yet the purpose for which it is mentioned being to instance an essential error, we cannot suppose that his authority has served to gain it more readers. Having very judiciously laid it down as a general observation, that writers, by studiously avoiding the fancied disgrace of imitation, are apt to fall into improper method, forced conceits, and affected expression; he proceeds to introduce the work in question after the following manner: “And, that the reader may not suspect me of asserting this without experience, let me exemplify what has been here said in the case of a very eminent person, who, with all the advantages of art and nature that could be required to adorn the true poet, was ruined by this single error. The person I mean was Sir William D’avenant, whose Gondibert will remain a perpetual monument of the mischiefs which must ever arise from this affectation of originality in lettered and polite poets.”

A considerable degree of deference is undoubtedly due to a critic of such acknowledged taste and abilities; yet, since it appears to me, that in this instance he writes under the influence of system and learned prejudice, I shall venture to canvass the principles upon which he supports his censure.

The method of Gondibert is first objected to by Dr. Hurd, and upon two accounts. First, that the compass of the poem is contracted from the limits of the ancient epic, to those of the dramatic form; and by this means, pursuing a close accelerated plot, the opportunity is lost of introducing digressive ornaments, and of giving that minuteness of description which confers an air of reality. Now, since the author sets out with disavowing the common rules of epic poetry, it is certainly unjust to try him by those rules. That effects are not produced which he never designed to produce, can be no matter of blame; we have only to examine the justness of the design itself. It is wrong to expect incompatible qualities as well in compositions as in men. A work cannot at the same time possess force and diffusiveness, rapidity and minuteness.

Every one who has read Homer without prejudice, will, I doubt not, confess that the effects which should result from the great events of the story are much broken and impeded by that very minuteness of description, and frequency of digression which D’avenant is blamed for rejecting. The mind, warmed by an interesting narration, either in history, poetry, or romance, requires the writer to keep up with its exertions, and cannot bear him to flag in his pace, or turn aside in pursuit of other objects. The proper end of epic poetry, according to Dr. Hurd, is admiration. This, I imagine, would by no means have been allowed by our author, who seems rather to have placed it in interesting the passions, inculcating noble sentiments, and informing the understanding: nor does it answer the idea of Horace, who praises Homer for his moral lessons, for teaching

However, a due limitation of subject, and something of rapidity in pursuing it, appear very necessary to the production of a considerable effect, of what kind soever; and a pompous display of foreign circumstances must always debilitate more than adorn. It appears an extremely bad compliment to an epic poem, to say that its chief beauty lies in the episodes. Indeed, epic poetry, as existing in the models of antiquity, or their copies, by no means, I think, deserves the title given by critics, of the highest species of poetical composition. The tedious compass of the subject, the necessity of employing so large a share of the work in the relation of trifling occurrences for the sake of connexion, and the frequency of interruptions from collateral matter, inevitably cause both the poet’s exertions and the reader’s attention to intermit; and it is no wonder that Homer, and Virgil too, sometimes nod over their labours. The author of Gondibert seems to have been sensible of these inconveniences, and upon fair comparison of the epic and dramatic form, to have preferred the latter, as capable of more spirit, and uniform dignity. We shall find, however, in reviewing the poem, that he has by no means restricted himself so narrowly as to preclude all ornamental deviations; and though they may not deserve the title of episodes, yet in his short and unfinished piece, they have all the desirable effect of a pleasing variety.

The second objection which Dr. Hurd brings against the method of this poem, is the rejection of all supernatural agency, or what constitutes the machinery of the ancient epic poem. But for this the critic himself offers a vindication, when he commends the author for not running into the wild fables of the Italian romances, “which had too slender a foundation in the serious belief of his age to justify a relation to them.” Now, by making this belief an essential rule of propriety with respect to the machinery, an author in an enlightened period, such as that of D’avenant, is, in effect, prohibited from its use altogether; for the abstracted nature of a pure and philosophical religion renders it utterly unfit for the purposes of poetical fiction. The works of such Christian poets as have attempted to form a system of machinery upon the ideas of saints, angels, and tutelary spirits, will sufficiently prove that their religion, even with a mixture of popular superstition, was ill calculated to assist their imagination. Two writers, whom one would little expect to meet upon the same ground, Sir Richard Blackmore and Mons. Voltaire, have given instances of the same faulty plan in this respect; and nothing in the good Knight’s epic labours can more deserve the attack of ridicule, than the divine mission in the Henriade for instructing his Majesty in the sublime mysteries of transubstantiation.

It was a very just charge which Plato brought against Homer, that he had greatly contributed to debase religion by the unworthy and absurd representations he has given of the celestial beings, both with respect to their power and their justice; and this is a fault which the poet must always in some measure be guilty of, when he too familiarly mixes divine agency with human events. Nor does it appear more favourable to the greatness of the human personages that they are on all occasions so beholden to the immediate interposition of divine allies. The refined and judicious Virgil, though he has tolerably kept up the dignity of his Deities, has yet very much lowered his heroes from this cause. When we see Æneas, the son of a Goddess, aided by a God, and covered with celestial armour, with difficulty vanquishing the gallant Turnus, we conclude, that without such odds, the victory must have fallen on the other side. Under such a system of supernatural agency, there was no other way of exalting a man than making him, like Diomed, war against the Gods, or, like Cato, approve a cause which they had unjustly condemned. Surely, a “sober intermixture of religion” can never be attributed to the ancient epic. The poem of Gondibert is, indeed, without all this mixture of religious machinery, whether it be termed sober or extravagant. Human means are brought to accomplish human ends; and Cowley, in his recommendatory lines prefixed to the work, has thus expressed his approbation of this part of the plan.

We shall see hereafter, that the author has not neglected to introduce religious sentiment, and that of a more noble and elevated kind than can easily be paralleled in poetry.

But as the poet, in the critic’s opinion, did too much in banishing every thing supernatural in the events, so he did too little in retaining the fantastic notions of love and honour in the characters of his piece, which were derived from the same source of fiction and romance. There is, however, an essential difference between the cases. Artificial sentiments, however unnatural at first, may, from the operation of particular causes, become so familiar as to be adopted into the manners of the age. Instances of fashion in sentiment are almost as frequent as of fashion in dress. It is certain that the romantic ideas of love and honour did in fact prevail in a high degree during a considerable period of the later ages, owing to causes which the same ingenious critic has in a very curious manner investigated, in his letters on Chivalry and Romance. They gave the leading tone to all polished manners; and gallantry was as serious a principle in the Italian courts, as love to their country in the states of Greece or old Rome. Supernatural agency in human events, on the other hand, however commonly pretended, or firmly believed, would never approach one step nearer to reality. After all, the author of Gondibert could not intend to reduce his poem to mere history; but he chose to take a poetical licence in the dignity and elevation of his sentiments, rather than in the marvellousness of its events. He thought he might attribute to the exalted personages of courts and camps the same nobleness of mind which himself, a courtier and a soldier, possessed. If his work be allowed less grand and entertaining from the want of such ornaments as those of his predecessors are decorated with, it will yet be difficult to shew how, at his time, they could have been applied consistently with good sense and improved taste.

So much in vindication of the general method of Sir W. D’avenant’s poem. With respect to its execution, the justice of Dr. Hurd’s censure cannot be controverted. That his sentiments are frequently far-fetched and affected, and his expression quaint and obscure, is but too obviously apparent; and these faults, together with the want of harmony in versification, will sufficiently account for the neglect into which the work is fallen, though interesting in its story, and thick sown with beauties. Readers who take up a book merely for the indolent amusement of a leisure hour, cannot endure the labour of unharbouring a fine thought from the cover of perplexed expression. The pleasure arising from a flowing line, or a rounded period, is more engaging to them, because more easily enjoyed, than that from a sublime or witty conception. The author’s faulty execution, however, arose from a source directly contrary to the “dread of imitation.” Imitation itself led him to it; for almost all the models of polite literature existing in his own country, and indeed in the other polished nations of Europe, were characterized by the very same vitiation of taste. Among our own writers, it is sufficient to instance Donne, Suckling and Cowley, for this constant affectation of wit and uncommon sentiment, and for a consequent obscurity of expression. Yet all these, and Sir W. D’avenant, perhaps, in a more eminent degree than the rest, had for great occasions, above the temptation of trifling, a majestic and nervous simplicity, both of sentiment and expression; which, with our more refined taste and language, we have never been able to equal.

I should now hope that the reader would set out with me upon a nearer inspection of this poem, with the general idea of its being the work of an elevated genius, pregnant with a rich store of free and noble sentiment, fashioned by an intimate commerce with the great world, and boldly pursuing an original, but not an unskilful plan.

The measure chosen for this poem is that which we now almost confine to elegy. This choice does not appear very judicious; for, although our elegiac stanza possesses a strength and fulness which renders it not unsuitable to heroic subjects, yet, in a piece of considerable length, every returning measure must become tiresome from its frequent repetitions. And this is not the worst effect of returning stanzas, in a long work. The necessity of comprizing a sentence within the limits of the measure is the tyranny of Procrustes to thought. For the sake of a disagreeable uniformity, expression must constantly be cramped or extended. In general, the latter expedient will be practised, as the easiest; and thus both sentiment and language will be enfeebled by unmeaning expletives. This, indeed, in some measure, is the effect of rhyme couplets; and still more of the Latin hexameter and pentameter. In our author, a redundancy of thought, running out into parentheses, seems to have been produced, or at least encouraged by the measure. But I think he has generally preserved a force and majesty of expression.

It would have been highly injudicious for one who has rejected all poetical machinery, to have begun his poem with the ancient form of invoking a Muse. Indeed, in all modern writers this invocation appears little better than an unmeaning ceremony, practised by rote from ancient custom; and very properly makes a part of the receipt for an epic poem humourously laid down after the exact model of mechanical imitation, in the Spectator. Our author, with simple and unaffected dignity, thus opens at once into his subject:

This conquering monarch, we are soon acquainted, was blest with an only child, the heroine of the story,

Descriptions of female beauty have engaged the powers of poets in every age, who have exhausted all nature for imagery to heighten their painting; yet the picture has ever been extremely faint and inadequate. Our poet judiciously confines his description of Rhodalind to the qualities of her mind, contenting himself with general praises, though in the high-flown gallantry of the times, of her personal charms.

The court of Aribert could not want men of high rank and accomplishments to pay their devotions at such a shrine. Among these, “Oswald the great, and greater Gondibert” moved in the most exalted sphere of renown. These noble personages are characterized and contrasted with so masterly a hand, that it would be an injury not to transcribe the whole.

Of these great rivals, Gondibert was he whom the king had destined for his son-in-law, and the heir of his throne; and Rhodalind too, in the privacy of her own breast, had made the same choice. This is related in a manner little inferior to Shakespear’s famous description of concealed love.

Gondibert, however, though of a nature by no means unsusceptible of the tender passion, had not as yet felt it for a particular object; and Oswald, who stood forth as the public suitor to the princess, was incited by no other motive than ambition. Not Rhodalind herself (says the poet)

His cause was powerfully pleaded with the princess by his sister Gartha, with whom we are next brought acquainted. A bold, full, majestic beauty; and a corresponding mind, high, restless, and aspiring, are her distinguishing features. The prince and duke were urged on to ambitious pursuits by their respective armies, which, just returned from conquest, lay encamped, the one at Brescia, and the other at Bergamo. That of Gondibert was composed of hardy youth whom he had selected from his father’s camp, and educated in martial discipline under his own inspection. Temperance, chastity, vigilance, humanity, and all the high virtues of chivalry, remarkably distinguish these young soldiers from those of later times. Beauty, indeed, commanded no less regard amongst them than in a modern camp; but it was an object of passion, and not of appetite; and was the powerful engine in their education which inspired them with noble and exalted sentiments. This is an idea on which our author, true to the principles of chivalry, very frequently enlarges, and always with peculiar force and dignity. In the present instance it is thus finely expressed:

Indeed, the influence of this passion in its purest and most exalted state during the course of education, is a subject that might, perhaps, shine as much in the hands of a moralist as of a poet.

The soldiers of Oswald were his father’s brave veterans, in whose arms he had been bred. The story thus opened, and our attention awakened to the expectation of important events, the first canto is closed.

The second canto introduces us to a solemn annual hunting, held by Duke Gondibert in commemoration of a great victory gained on this day by his grandsire. His train was adorned by many gallant and noble persons, the friends of his family, and commanders in his army. The hunting, which is described with much poetical spirit, terminates in a combat. As Gondibert and his party are returning weary homeward, an ancient ranger hastily brings the tidings that Oswald, who had lain in ambush with a body of chosen horse, is advancing upon them. The Duke, rejecting all counsels of flight, prepares to receive his foes; and with an account of their principal leaders, and the order of their march, the canto concludes.

A parley between the chiefs now succeeds, in which the character of each is well preserved. Oswald warmly accuses his rival for usurping his claims on the princess and the kingdom. Gondibert defends himself with temper, and disavows all ambitious designs. The other disdains accommodation; and the conference ends in a generous agreement to decide their differences in single fight.

When every thing is prepared for the combat, Hubert, the brother of Oswald, steps forth with a general challenge to the opposite party. This is instantly accepted, and serves for a prelude to so many others, that a general engagement seems likely to ensue; when Oswald reproves their disobedient ardour: and, upon Hubert’s insisting to share his fate from the rights of brotherhood, it is at length decided that three persons of each party should enter the lists along with their generals. The duel then comes on, in the fourth canto; in which Oswald, Hubert, Paradine and Dargonet, are severally matched with Gondibert; Hurgonil, the lover of Orna, the Duke’s sister; and Arnold and Hugo, generous rivals in Laura. Descriptions of battle are so frequent in epic poetry, that scarcely any circumstances of variety are left to diversify them. Homer and his imitators have attempted novelty in the multiplicity of their combats by every possible variation of weapon, posture, and wound. They considered the human body with anatomical nicety; and dwelt with a savage pleasure upon every idea of pain and horror that studied butchery could excite. I shall leave it to the professed admirers of antiquity to determine under what head of poetical beauty such objects are to be ranged. The terrible is certainly a principal source of the sublime; but a slaughter-house or a surgery would not seem proper studies for a poet. D’avenant has drawn little from them. His battles are rendered interesting chiefly by the character and situation of the combatants. When Arnold, the favoured lover of Laura, is slain by Paradine, Hugo, who had overthrown his antagonist, springs to avenge his rival, with these truly gallant expressions:

His generosity, however, was fatal both to his foe and himself.

Hubert, disabled by a wound in his arm, is dishonoured by receiving his life from his conqueror; upon which occasion the poet thus beautifully apostrophises:

The two chiefs are still left closely engaging; and when Hurgonil approaches to assist his lord, he is warmly commanded to retire. At length, after many mutual wounds, Oswald falls.

The death of the Prince at the same time takes off all restraint from his party, and incites them to revenge. Led by the wounded Hubert, old Vasco, and Borgio, they attack the hunters, who, besides the fatigue of the chace, are represented as somewhat inferior in number. A furious battle, the subject of the fifth canto, now ensues. Gondibert shines forth in all the splendor of a hero. By his prowess his friends are rescued, and the opposite leaders overthrown in various separate encounters; and by his military skill the brave veterans of Oswald are defeated. The whole description of the battle is warm and animated.

In Gondibert’s generous lamentation over the fallen, every heart must sympathize with the following pathetic tribute to the rival lovers:

The Duke now draws off his remaining friends towards Bergamo: but on the journey, overcome by fatigue and loss of blood, he falls into a deadly swoon. His attendants, amidst their anxiety and confusion upon this event, are surprised, in the sixth canto, with the approach of a squadron of horse. This, however, proves to be a friendly body, led by old Ulfin, who, after recovering the Duke by a cordial, declares himself to have been a page to his grandsire, and gives a noble relation of the character and exploits of his great master. The rumour of Oswald’s attack brought him to the relief of Gondibert; and we have a description, which will be thought too much bordering upon the ludicrous, of the strange confusion among his maimed veterans, who in their haste had seized upon each other’s artificial limbs. This unsightly troop, with the deficiencies of hands, arms, legs and eyes, can scarcely, with all the poet’s art, be rendered a respectable object. Such instances of faulty judgment are frequent in the writings of an age which was characterized by vigour of imagination rather than correctness of taste. Ulfin leads the Duke to the house of the sage Astragon, where, with the approach of night, the canto and the first book conclude.

In the beginning of the second book, the poet carries us with Hurgonil and Tybalt and their noble dead, to Verona. The distant turrets first appearing, and then the great objects opening, one by one; the river, the palace, the temple, and the amphitheatre of Flaminius, form a landscape truly noble and picturesque. The view of the temple gives occasion to one of those elevated religious sentiments which dignify this poem.

We have then a lively description of a city morning; with the various and uncertain rumours of the late event, among the people. The rest of the canto is employed in a debate, rather tedious, though intermixed with fine sentiments, concerning the propriety of granting funeral rites to those who had perished in the quarrel.

The progress of the fatal news is traced in the next canto. Aribert appears sitting in council in all the regal dignity. Tybalt relates the story. The king, in a majestic speech, complains of the toils and cares of empire, and predicts the baneful consequences likely to ensue. A more interesting scene is then disclosed, in which Tybalt declares the melancholy events of the combat to Rhodalind and the other ladies of the court. Great art is shewn in the delicate ambiguity by which they are prepared to receive the tidings. Laura is overpowered by her loss; and, calling on Arnold’s name, is conveyed away by her female attendants. This tender scene of sorrow is finely contrasted by the abrupt entrance of Gartha, in all the wild pomp of mingled rage and grief.

In the fury of her passion she breaks out into execrations against the innocent.

At length she mounts her chariot, and flies with the wings of revenge to the veteran camp at Brescia. The terror impressed on the people by her hasty departure is imaged with great sublimity.

The third canto brings us to Brescia, where Hubert’s arrival with the dead body of Oswald excites every emotion of surprize, grief and fury in the breasts of the brave veterans. They spend the night in this storm of contending passions; and at day-break assemble round the tent of Hubert, who by a noble harangue gives additional fire to their revenge. They instantly arm, and demand to be led to Bergamo; when Gartha arrives. She turns their vengeance against the court, where she represents the triumph of Gondibert’s faction, and the dishonour cast upon their own. The rage discovered in her countenance, overpowering the symptoms of grief, is painted with amazing grandeur in the following simile:

This tempest is, however, allayed in the next canto by the arrival of the wife Hermegild; who, though grown aged in war and politics, is possessed with a youthful passion for Gartha. He solemnly binds his services to their party, for the reward of Gartha’s love; but persuades them to submit to more cautious and pacific measures. Gartha returns with him to the court; and the funeral of Oswald with Roman rites, “Which yet the world’s last law had not forbid,” is described in the remaining part of the canto.

From scenes of rage and tumult the poet then leads us to the quiet shades of philosophy in the house of Astragon. This change is not better calculated for the reader’s relief, than for a display of the richness and elevation of the writer’s mind. That the friend of Hobbes should despise the learned lumber of the schools will not be thought extraordinary; but that he should distinctly mark out such plans of acquiring knowledge as have since been pursued with the greatest success, may well be deemed a remarkable proof of high and comprehensive genius. In Astragon’s domain is a retired building, upon which is written in large letters, GREAT NATURE’S OFFICE. Here sit certain venerable sages, stiled Nature’s Registers, busied in recording what is brought them by a throng called their Intelligencers. These men are diversly employed in exploring the haunts of beasts, of birds, and of fishes, and collecting observations of their manners, their prey, their increase, and every circumstance of their oeconomy. Near this place is NATURE’S NURSERY, stocked with every species of plants, of which the several properties and virtues are diligently examined. Is it not striking to find, in the house of Astragon so exact a model of the school of LinnÆus?

We are next led to the CABINET OF DEATH; a receptacle for skeletons and anatomical curiosities of every kind: and from thence, by a pleasing analogy, to the library, or, as it is termed, the MONUMENT OF BANISH’D MINDS. The feelings of his guests on entering this room are thus described:

The poet then goes through a particular survey of the authors, distinguished into their several periods, countries, and professions; in which he exhibits a great extent of learning, and, much more to his honour, a sound and liberal judgment of what is truly valuable in learning. Of this, his account of the polemic divines will be thought no unfavourable specimen.

If the subjects of this canto appear more noble and elevated than those which usually employ the episodes of heroic poetry, that of the ensuing one must strike with still superior dignity. Having acquainted us with the philosophy of his admired sage, the poet now, by a beautiful kind of allegory, instructs us in his religion. Astragon had dedicated three temples, to PRAYER, to PENITENCE, and to PRAISE. The Temple of Prayer is described as a building quite plain, open, and without bells; since nothing should tempt or summon to an office to which our own wants invite us. The duty of Penitence being a severity unpleasing to nature, its temple is contrived, by its solemn and uncommon appearance, to catch the sense. It is a vast building of black marble, hung with black, and furnished with that “dim religious light” which poets have so finely employed to excite kindred ideas of gloom and melancholy: but none, I think, have painted it with such strength of colouring as our author:

A tolling bell calls to the temple; and every other circumstance belonging to it is imagined with great propriety and beauty.

But the poet’s greatest exertions are reserved for his favourite temple of Praise. A general shout of joy is the summons to it. The building, in its materials and architecture, is gay and splendid beyond the most sumptuous palace. The front is adorned with figures of all kinds of musical instruments; all, as he most beautifully expresses it,

The statues without, the pictures within, the decorations, and the choir of worshippers, are all suited with nice judgment, and described with genuine poetry. This distinguished canto concludes with these noble stanzas, the sum and moral, as it were, of the whole.

The last thought will be termed, in this cold age, a conceit; and so may every thing that distinguishes wit and poetry from plain sense and prose.

The wonders of the house of Astragon are not yet exhausted.

This maid, her father’s humble disciple and assistant, educated in the bosom of rural simplicity, is rendered a more charming object than even the renowned Rhodalind upon her throne.

But I check my desire of copying more from this exquisitely pleasing picture. My intention is to excite curiosity, not to gratify it. I hope I have already done enough for that purpose; and since the rest of this unfinished story may be comprized in a short compass, I shall proceed, with but few interruptions, to conclude a paper already swelled to an unexpected bulk.

That the unpractised Birtha should entertain an unresisted passion for the noblest of his sex; and that Gondibert, whose want of ambition alone had secured him from the charms of Rhodalind, should bow to those of his lovely hostess and handmaid, will be thought a very natural turn in the story; upon which, however, the reader may foresee the most interesting events depending. The progress of their love, though scarcely known to themselves, is soon discovered by the sage Astragon. This is expressed by the poet with a very fine turn of a common thought.

The remainder of this poem, consisting of a third book, written during the author’s imprisonment, is composed of several detached scenes, in which the main plot lies ripening for future action. Rivals are raised to Birtha. Flattering advances from the court, and more open declarations of love from Rhodalind, are in vain employed to assail the constancy of Gondibert. Various conflicts of passion arise, and interesting situations, well imagined, and painted in lively colours. Much is given, as in the former parts, to the introduction of elevated sentiment; with one example of which I shall finish my quotations. Several well-born youths are placed about the person of Gondibert as his pages, whose education consists of the following great lessons from their lord:

The plot is at length involved in so many intricate and apparently unsurmountable difficulties, that it is scarce possible to conceive a satisfactory termination. Perhaps the poet was sensible of a want of power to extricate himself, and chose thus to submit to a voluntary bankruptcy of invention, rather than hazard his reputation by going further. In his postscript, indeed, he excuses himself on account of sickness and approaching dissolution. However disappointed we may be by his abrupt departure from scenes which he has filled with confusion, we ought not to forget the pleasures already received from them. “If (says he to his reader, with more than the spirit of a dying man) thou art one of those who has been warmed with poetic fire, I reverence thee as my judge.” From such a judicature, this NOBLE FRAGMENT, would, I doubt not, acquire for him what the critic laments his having lost, “the possession of that true and permanent glory of which his large soul appears to have been full[2].”