trip lightly and nimbly along, without the load of any weighty
meaning. From these, however, "Rural Elegance" has some right to be
excepted. I once heard it praised by a very learned lady; and,
though the lines are irregular, and the thoughts diffused with too
much verbosity, yet it cannot be denied to contain both
philosophical argument and poetical spirit. Of the rest I cannot
think any excellent; the "Skylark" pleases me best, which has,
however, more of the epigram than of the ode.

But the four parts of his "Pastoral Ballad" demand particular
notice. I cannot but regret that it is pastoral: an intelligent
reader acquainted with the scenes of real life sickens at the
mention of the CROOK, the PIPE, the SHEEP, and the KIDS, which it is
not necessary to bring forward to notice; for the poet's art is
selection, and he ought to show the beauties without the grossness
of the country life. His stanza seems to have been chosen in
imitation of Rowe's "Despairing Shepherd." In the first are two
passages, to which if any mind denies its sympathy, it has no
acquaintance with love or nature:--

"I prized every hour that went by,
Beyond all that had pleased me before:
But now they are past, and I sigh,
And I grieve that I prized them no more.

When forced the fair nymph to forego,
What anguish I felt in my heart!
Yet I thought (but it might not be so)
'Twas with pain that she saw me depart.