later, with love scenes and a happy catastrophe by Nahum Tate.

In the latter part of the reign of Charles the Second, Dryden and Otway and Lee held the undisputed supremacy in the serious drama. Such was the insensibility of the English public to nature, and her high priest, Shakespear. The only one of their productions that has survived upon the theatre, is Venice Preserved: and why it has done so it is difficult to say; or rather it would be impossible to assign a just and honourable reason for it. All the personages in this piece are of an abandoned and profligate character. Pierre is a man resolved to destroy and root up the republic by which he was employed, because his mistress, a courtesan, is mercenary, and endures the amorous visits of an impotent old lecher. Jaffier, without even the profession of any public principle, joins in the conspiracy, because he has been accustomed to luxury and prodigal expence and is poor. He has however no sooner entered into the plot, than he betrays it, and turns informer to the government against his associates. Belvidera instigates him to this treachery, because she cannot bear the thought of having her father murdered, and is absurd enough to imagine that she and her husband shall be tender and happy lovers ever after. Their love in the latter acts of the play is a continued tirade of bombast and sounding nonsense, without one real sentiment, one just reflection, or one strong emotion working

from the heart, and analysing the nature of man. The folly of this love can only be exceeded, by the abject and despicable crouching and fawning of Jaffier to the man he had so basely betrayed, and their subsequent reconciliation. There is not a production in the whole realms of fiction, that has less pretension to manly, or even endurable feeling, or to common propriety. The total defect of a moral sense in this piece is strongly characteristic of the reign in which it was written. It has in the mean while a richness of melody, and a picturesqueness of action, that enables it to delude, and that even draws tears from the eyes of, persons who can be won over by the eye and the ear, with almost no participation of the understanding. And this unmeaning rant and senseless declamation sufficed for the time to throw into shade those exquisite delineations of character, those transcendent bursts of passion, and that perfect anatomy of the human heart, which render the master-pieces of Shakespear a property for all nations and all times.

While Shakespear was partly forgotten, it continued to be totally unknown that he had contemporaries as inexpressibly superior to the dramatic writers that have appeared since, as these contemporaries were themselves below the almighty master of scenic composition. It was the fashion to say, that Shakespear existed alone in a barbarous age, and that all his imputed crudities, and intermixture of what was noblest with unparalleled absurdity and

buffoonery, were to be allowed for to him on that consideration.

Cowley stands forward as a memorable instance of the inconstancy of fame. He was a most amiable man; and the loveliness of his mind shines out in his productions. He had a truly poetic frame of soul; and he pours out the beautiful feelings that possessed him unreservedly and at large. He was a great sufferer in the Stuart cause; he had been a principal member of the court of the exiled queen; and, when the king was restored, it was a deep sentiment among his followers and friends to admire the verses of Cowley. He was "the Poet." The royalist rhymers were set lightly by in comparison with him. Milton, the republican, who, by his collection published during the civil war, had shewn that he was entitled to the highest eminence, was unanimously consigned to oblivion. Cowley died in 1667; and the duke of Buckingham, the author of the Rehearsal, eight years after, set up his tomb in the cemetery of the nation, with an inscription, declaring him to be at once "the Pindar, the Horace and Virgil of his country, the delight and the glory of his age, which by his death was left a perpetual mourner."-Yet-so capricious is fame -a century has nearly elapsed, since Pope said,

Who now reads Cowley? If he pleases yet,
His moral pleases, not his pointed wit;

Forgot his epic, nay, Pindaric art,

But still I love the language of his heart.

As Cowley was the great royalist poet after the Restoration, Cleveland stood in the same rank during the civil war. In the publication of his works one edition succeeded to another, yearly or oftener, for more than twenty years. His satire is eminently poignant; he is of a strength and energy of thinking uncommonly masculine; and he compresses his meaning so as to give it every advantage. His imagination is full of coruscation and brilliancy. His petition to Cromwel, lord protector of England, when the poet was under confinement for his loyal principles, is a singular example of manly firmness, great independence of mind, and a happy choice of topics to awaken feelings of forbearance and clemency. It is unnecessary to say that Cleveland is now unknown, except to such as feel themselves impelled to search into things forgotten.

It would be endless to adduce all the examples that might be found of the caprices of fame. It has been one of the arts of the envious to set up a contemptible rival to eclipse the splendour of sterling merit. Thus Crowne and Settle for a time disturbed the serenity of Dryden. Voltaire says, the Phædra of Pradon has not less passion than that of Racine, but expressed in rugged verse and barbarous language. Pradon is now forgotten: and the whole French poetry of the Augustan age of Louis the Fourteenth is threatened with the same fate. Hayley for a few years was applauded as the genuine successor of Pope; and the poem of Sympathy by

Pratt went through twelve editions. For a brief period almost each successive age appears fraught with resplendent genius; but they go out one after another; they set, "like stars that fall, to rise no more." Few indeed are endowed with that strength of construction, that should enable them to ride triumphant on the tide of ages.

What tremen

It is the same with conquerors. dous battles have been fought, what oceans of blood have been spilled, by men who were resolved that their achievements should be remembered for ever! And now even their names are scarcely preserved; and the very effects of the disasters they inflicted on mankind seem to be swept away, as of no more validity than things that never existed. Warriors and poets, the authors of systems and the lights of philosophy, men that astonished the earth, and were looked up to as Gods, even like an actor on the stage, have strutted their hour, and then been heard of no more.

Books have the advantage of all other productions of the human head or hand. Copies of them may be multiplied for ever, the last as good as the first, except so far as some slight inadvertent errors may have insinuated themselves. The Iliad flourishes as green now, as on the day that Pisistratus is said first to have stamped upon it its present order. The songs of the Rhapsodists, the Scalds, and the Minstrels, which once seemed as fugitive as the breath of him who chaunted them, repose in