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His images are not always distinct; as, in the following passage, he confounds Love as a person with love as a passion :
Some other nymphs, with colours faint,
His fallies of casual flattery are fome. tiines elegant and happy, as that in rea turn for the Silver Pen; and sometimes empty and trifling, as that upon the Card torn by the Queen. There are a few lines written in the Dutchess's Taso, which he is said by Fenton to have kept a sum
mer under correction. It happened to Waller, as to others, that his success was not always in proportion to his labour.
Of these petty compositions, neither the beauties nor the faults deserve much attention. The amorous verses have this to recommend them, that they are less hyperbolical than those of some other poets. Waller is not always at the last gasp; he does not die of a frown, nor live upon a smile. There is however too much love, and too many trifles. Little things are made too important; and the Empire of Beauty is represented as exerting its influence further than can be allowed by the multiplicity of human passions, and the variety of human wants. Such books thereh 2
\ A L L E R. fore may be considered as sheiving the world under a falfe appearance, and so far as they obtain credit from the young and unexperienced, as misleading expectation, and misguiding practice.
Of his nobler and more weighty performances, the greater part is panegyrical; for of praise he was very lavish, as is observed by his imitator, Lord Lansdown:
No fatyr stalks within the hallow'd )
ground, o But queens and heroines, kings and
gods abound; Glory and arms and love are all the
In the first poem, on the danger of the Prince on the coast of Spain, there is a puerile and ridiculous mention of Arion at the beginning; and the last paragraph, on the Cable, is in part ridiculously mean, and in part ridiculously tumid. The poein, however, is such as may be justly praised, without much allowance for the state of our poetry and language at that time.
The two next poems are upon the King's behaviour at the death of Buckingham, and upon his Navy.
He has, in the first, used the pagan deities with great propriety : 'Twas want of such a precedent as this Made the old heathen frame their gods amiss.
In the poem on the Navy, those lines are very noble, which suppose the King's power secure against a second Deluge; so noble, that it were almost criminal to remark the mistake of centre for surface, or to say that the empire of the sea would be worth little if it were not that the waters terininate in land.
The poem upon Sallee has forcible