those of Tograi, (or Thograi), vizier of Bagdad, are held in high repute. The idyls of Abu Becr are much esteemed, as also the Song of Al Nasaphi. The Dha Argiouzat of Al Gazi, contains every Arabic word in which the letter Dh occurs. The Lamiats of Tograi, Shafari, and Abu Mansur, have every line ending in L; the Bordah of Ibn Zadun, has every line closing with the letter M; and in his Nuniat, each line ends with the letter N. The poem of Abi'l-olae, in praise of Prince Saïd, and the later poems of Faredh, are mentioned as particularly beautiful. So also is the volume by Abu'l Cassem, entitled Particles of Gold. D'Herbelot, in his Bibliothèque Orientale, enumerates upwards of thirty Arabian poets, and their works; of which we have no room here to speak farther.

The epic poetry of the Arabians, being all of a romantic character, we reserved for the present place. Admai's (or Asmai's) great heroic romance, Antara's Life, describes the exploits of Antara, (or Andar), an Arabian prince, whom we have already mentioned as one of the poetical Pleiades. The Mecamat, (Makamat), or Sessions, by Ithiel Hariri, is a romantic history of a knight errant: and the Natural Man, by Ibn Tophail, is a philosophical romance of great interest. The Life of Timur, (Tamerlane), by Ebn Arabshah, is regarded by Sir William Jones as an epic or heroic poem of great merit: but the great storehouse of Arabian romance, is Alf Lail u Lail, or the thousand nights and one night, commonly known as the Arabian Nights Entertainments; a collection of wild and beautiful tales, said to have been translated from the Persian, in the times of the caliph Al Mansur, and now translated into most of the European tongues. The fables of Lokman, were written, it is believed, since the rise of Mohamedanism; and they have found more favour in Europe than at home.

Of Turkish Callography, we have very little to say, except that it appears to be quite meagre. The romantic poem entitled Chosroes and Shereen, by Molla Khosrew, is, we believe, derived from the Persian. The principal lyric poet of the Turkish language, is Baki, whose divan, or collection of odes and songs, contains many beauties. They have also an Anthology, of choice poems, collected by Latifi and Tschelebi; besides other minor poems, among which are the songs of Mesihi, mentioned by Sir William Jones. The paucity of Turkish literature is owing perhaps in part to the abundance of the Arabic and Persian; of which the Turks are fond, and which supplies the place of a national literature of their own.

§ 2. Persian Callography, closely resembles the Arabian, both in style and subjects; unless, perhaps, it is more devoted to luxury and the tender passions. It abounds, however, in pure and beautiful sentiments; numerous specimens of which are furnished in the translations, by Sir William Jones and others. The Persians have one great epic poem, as distinct from the romantic; or rather a collection of epics, called the Shah Nameh, (Shanamah), or Book of Kings, begun, it is said, by Dakiki, continued by Ansari, but completed by Ferdusi, to whom the whole work is commonly attributed. It is a poetical history of Persia, in detached portions, extending from Nourshivan to Yezdegerd; and signalizing the exploits of Rustem, (or

Rustan), the Hercules of Persia. The history of Alexander the Great, entitled Iskander-Nameh, is a favourite subject in Persia; and has been written by Nizami; by Mir Ali, of Shirvan; by Achmed of Kirvan; by Emir Soliman; and by Jami; the first and last of whom have best succeeded. Ahmedi composed a heroic poem, on

the actions of Tamerlane.

Among the Persian lyric poems, are those of Ansari, Essedi, and Anvari, (or Enweri), whose cassides are unsurpassed. The odes of Khakani, (or Chakani), are spirited and sublime: and those of Mir Chosru, (or Emir Khosrou), are very elegant. The divan, of Hafiz, contains many sprightly odes and songs, chiefly anacreontic. There are also books of odes, or divans, by Jami, Ahli, Saib, Arsi, Casim, Shahi, Hatefi, Senai, Shefali, and others. The Gulistan, or bed of roses, and the Bostan, or garden, of Sadi, are longer poems, highly praised, both for style and morality. Jamis Beharistan, or mansion of the spring, as also his Chain of gold, Gift of the noble, and Manners of the just, are moral and didactic poems, like those of Sadi. The Lawful magic, and the Taper and the moth, by Ahli; the Secrets of lovers, the Seven faces, and the Treasure of secrets, by Nizami; and the Junction of two seas, Beauty and love, the Conqueror and triumpher, by Catebi, we have barely room to mention. The Pend-Nameh, of Attar, a contemporary of Sadi, is a valuable collection of proverbs: and the Kilat el Metnavi, (or Masnavi), of Gelaleddin Roumi, surnamed Balkhi, treats of religion, history, morals, and politics, with great energy and richness. Reshidi's Enchanted gardens, is a treatise on the art of poetry.

Of Persian romantic poetry, and romance, the story of Leila and Meinoun, (or Laila and Mejnoun), has been written by Nizami, Hatifi, Jami, and others. Nizami also wrote the loves of Chosru and Shirin, (or Chosrou and Schirin); and Jami wrote Joseph and Zuleika, (Jussuf or Yusuf and Zuleica), as also Selman and Absal; both of which are contained in his collection of seven poems, called the Seven stars of the bear. Baharam and Gulendam, is a romantic poem by Catebi; and there are long poems by Chosrou, Abubatha, and Nani, probably of a romantic character. The Thousand and one Nights, is said to have been written by Humai, a Persian queen; and the Thousand and one Days, in imitation of it, is devoted to the praise of men, as the former is to the vindication of women. The Bahar Danuch, or garden of knowledge, by Doollah, or Oollah; the Tooti-Nameh, (Tuti-nama), or tales of a parrot, and the Tales of Bakhtyar, and the Ten Viziers, are also of a romantic character. The Halim Tai, is a popular romance on the adventures of Hatim; and the Heft Peiker, by Nizami, relates to the adventures of Behram. The Bostan i Khyal, or garden of imagination, is an historical romance. The fables of Pilpay, so called, have been translated into Persian by Rudigi, (or Roudeki), under the title of Anwar Soheili; and there are other translations of the same.

§3. Hindoo Callography, is chiefly based on the Hindoo Mythology, as comprehended in the sacred books, in the Sanscrit tongue, which we have already mentioned in the department of Theology, (p. 133). It is chiefly in the hands of the Brahmins; and has been

Lamartine's Mort de Socrate, or Death of Socrates; and his Chute d'un Ange, or Fall of an Angel; which is of a wilder character. Le Brun's poem, La Nature, is valuable; and there are also poems on Theatrical Declamation, by Dorat; on Painting, by Lemierre; on Astronomy, by Guidin; on Navigation, by Esmenard; and on Agriculture, by Rosset. Among the French writers of satire, were Boileau, Regnier, Gilbert, and Le Roy. The most noted French fables, are those of La Fontaine.

French dramatic poetry, may be regarded as commencing with the dialogues of Faydit, and other troubadours, first called comediens. To these succeeded the plays called mysteries; representing scripture subjects; but degrading them to the level of the vulgar taste. Next followed the moralities, so called; and the farces of the Clerks of the Bazoche; and to these succeeded the follies of the Lads without care; a society which took this name, and performed comic pieces. The Captive Cleopatra, of Jodelle, performed in 1552, was probably the first French Tragedy of note or influence; and his Dido, contains great beauties. The Sophonisba, of Mairet, and the Marianne, of Tristan the Hermit, are less natural; but La Famine, by Garnier, exhibits great force. The tragedies of Corneille, excel in force and dignity; though sometimes faulty in the plot. His Medea, was his first, and the Cid, is considered his best. Racine, is polished and elegant, but wants fire and inspiration. Les Frères Ennemis, the Inimical Brothers, was his first tragedy; but his Andromache, and Athalie, are regarded as superior. Voltaire, is the third great tragic poet of the French; and his Zaire, Mahomet, and Alzire, have been much admired. The Rhadamiste, and other tragedies of Crébillon; the Omasis in Egypt, of Baour Lormian; the Charles IX., of Chenier; the Templars, by Renouard; the Artaxerce, by Delrieu; the Pavia, of Delavigne; and the Cromwell, of Victor Hugo; are tragedies of note, and all that we have

room to name.

The oldest French comedy, worthy of mention, is the Avocat Patelin, first represented about 1480, by the Clerks of the Bazoche. The great comic poet of the French is Molière; whose free invention, and ready humor, have perhaps never been surpassed._ L'Etourdi, or the Wild Fellow, first gave him celebrity; and his Tartuffe, and Misanthrope, are said to have become models of the higher comedy. We have farther room to mention only La Métromanie, by Piron; Le Trésor, by Andrieux; Le Joueur, by Regnard; L'Ami de tout le Monde, by Le Grande; Le Méchant, by Gresset; Le Glorieux, by Destouches; and Les Chateaux en Espagne, by D'Harleville; as among the best productions of this class. The first French opera writer, was Quinault; whose Armide, appeared in 1686. The comic operas, originated in the vaudevilles, or sprightly songs, at the fairs, after the prohibition of comedies, in 1707. Favart first gave them a higher character; and the Barber of Seville, and Marriage of Figaro, by Beaumarchais, are among the most celebrated.

The earliest French romances, in prose, were those relating to King Arthur and the Knights of the Round Table; of which Tristan de Leonois, (or le Lionnais), by Chretien de Troyes, and Launcelot

coarse.

EUROPEAN.

du Lac, by Godfrey de Ligny, were written about the year 1200. To these succeeded the romances of Charlemagne and the Twelve Peers of France; one of which, is The Chronicle, falsely attributed to Turpin and another, entitled Huon de Bordeaux, was of later origin. The tales of magic and chivalry, called fabliaux, were probably borrowed, in part at least, from the Arabs. Gargantua and Pantagruel, by Rabelais, is a satirical romance, witty, but The Astrée, or Astrea, of D'Urfé, is a pastoral romance, The Grand Cyrus, and relating to the court of Henry the Great. the Clelia and Cleopatra, of M'lle. de Scuderi, are said to be feeble and affected; but the historical novels of M'lle. de la Force, are more natural. The Contes de ma Mère l'Oye, or tales of Mother Goose, by Perrault, had their day of applause; but the Princesse de Cleves, and the Zayde, (Zaide), of the Countess de la Fayette, are works of value. The Gil Blas, of Le Sage, and his Diable Boiteux, have been much admired; but the Candide, and Zadig, of Voltaire, are more satirical and misanthropic. The Nouvelle Heloise, and the Emile, of J. J. Rousseau, display the weak character of their author: but the Marianne, of Marivaux, is refined and natural; and the Belisaire, of Marmontel, is said to be good. The Paul and Virginia, and the Indian Cabin, of St. Pierre; and the Atala, René, and Martyrs, of Chateaubriand, are extensively admired. The Corinne, and Delphine, of Madame de Staël; the Siege of Rochelle, and Adela and Theodore, of Madame de Genlis; the Elisabeth, and Mathilde, of Madame Cottin; and the Caroline de Lichtfield, of Madame de Montolieu; are also worthy of mention, and are all that Of French epistles or letters, we barely we have room to name. name those of the Marchioness de Sevigné; of M'lle. de l'Espinasse; and of Madame Deffand; as models and specimens. The essays of Montaigne, and the funeral orations of Bossuet, are very highly esteemed.

3. British Callography, we are proud to say, is rich and unsurpassed in every important class of polite literature. English poetry, may be considered as originating with Spenser and Gower, and reaching its acme with Shakspeare and Milton. Chaucer's Court of Love, is the oldest English poem extant; and his Canterbury Tales, resemble those of the Troubadours. Gower's Confessio Amantis, or Confession of a Lover, written in Latin, was one of the first books printed in England. Spenser's Fairy Queen, a tale of magic and chivalry, has great beauties, though incomplete, and seemingly deficient in unity. It is a series of allegories, in praise of the virtues; rich in imagination, facile in diction, and abounding in romantic incident, sublimity, and pathos. Davenant's Gondibert, is also a romantic poem of considerable interest. Dryden's Palamon and Arcite, is a tale of Grecian times; and Thomson's Castle of Indolence, is an allegorical poem, in imitation of Spenser.

The poem of Giles Fletcher, which might be entitled the Messiad; including Christ's Victory in Heaven, Triumph on Earth, Triumph over Death, and Triumph after Death; may be ranked as an heroic poem of merit but the chief epic poem, in our language, is Milton's Paradise Lost; which describes, in the sublimest strains, the dis

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obedience of our first parents, with its deplorable consequences, and the promised restoration of our race to the Divine favor. Milton's Paradise Regained, relating to the events of our Saviour's life, has less inspiration, and is less admired. Blackmore's poem on the Creation, is elaborate, but tame; and his Prince Arthur, and King Alfred, are heroic poems of minor note. The Leonidas, of Glover, is a respectable production; but, like the Epigoniad, of Wilkie, has fallen into neglect. The Fingal and Temora, attributed to Ossian, but collected and compiled by Macpherson, may be regarded as an epic poem, relating to the deliverance of Erin from Swaran, king of Lochlin, by Fingal, the father of Ossian.

Of English lyric poetry, other than psalms and hymns, we would mention Drummond's sonnets, and Habington's poems to Castara, as among the earliest and best. The odes and other poems of Cowley and Waller, we cannot admire. Dryden's Alexander's Feast, an ode for St. Cecilia's Day, is masterly; and superior to those of Addison, and Congreve, on the same theme. Pope's Messiah, a sacred eclogue, and his Universal Prayer, are noble productions. Collins's Ode on the Passions, is of the first order: and some of Gray's odes, as his Hymn to Adversity, are, we think, superior. T. Warton's ode on the Crusade, and Mason's odes, to Memory, and to Independence, are worthy of praise; as also Mrs. Barbauld's ode to Remorse. Wordsworth's Lyrical Ballads, have found strong admirers; and Coleridge's Sibylline Leaves, contain many good poems of a lyrical character. Bowles's Sonnets, are also good; but Burns's Scottish Songs, and Moore's Irish Melodies, are among those collections which have met with the most general favor. Mrs. Hemans's poems belong mostly to this class, and deserve high praise. Of elegiac poetry, we would mention Lord Lyttelton's Monody on the death of his wife; Shenstone's Elegy on a melancholy event; and Gray's Elegy, written in a country churchyard; as models of their kind. Of pastoral poetry, Spenser's Shepherd's Calendar, and Wither's Shepherd's Hunting, are among the oldest specimens of interest. Brittannia's Pastorals, by Browne, are quaint, but original; Gay's Shepherd's Week, descends to rustic themes and style; but Shenstone's Pastoral Ballad, is a truly elegant production. Lyttelton's Progress of Love, in four eclogues, is ornate and attractive; and Allan Ramsay's Gentle Shepherd, is a beautiful picture of Scotch pastoral life. Collins's Oriental Eclogues, finely describe Asiatic pomp; and the City Eclogues, of Lady Montague, assisted by Pope, and Gay, present a striking picture of city life.

Of English descriptive poetry, Drayton's Poly-olbion, is a minute description of England, with many striking episodes. Phineas Fletcher's Purple Island, is an allegorical description of man, physically and mentally considered. Milton's L'Allegro, and Il Penseroso, are vivid pictures of cheerfulness and melancholy. Gay's Trivia, or walking in London, and his Rural Sports, like Somerville's Chase, and Field Sports, and Savage's Wanderer, are respectable poems of this class. Goldsmith's Traveller, and Deserted Village, are peculiarly beautiful; and Pope's Windsor Forest, Dyer's Grongar Hill, Denham's Cooper's Hill, and Roscoe's Mount