familiarized to almost all readers of that work, in consequence of some pleasing strokes of nature, though it contains some thoughts as strained and artificial as any thing in Italian pastoral. But poets of a much superior class have exercised themselves in the pastoral song or ballad. Prior, Rowe, and Gay, have left specimens of this kind; the second of these, in my opinion, of superior merit. His piece beginning "Despairing beside a clear stream" appears to me a very perfect example of that union of simple language with natural sentiment which best suits the kind of fiction adopted, and is capable of the most pathetic effects. Shenstone has since derived, perhaps, the principal share of his reputation from his performances in this walk, for which, the tenderness of his feelings, and his exquisite taste for the beauties of rural nature, peculiarly qualified him. His "Pastoral Ballad in four

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parts,"

parts," though unequal in its composition, has given much pleasure to all who were capable of entering into the delicacies of the soft passion in its purest form. Cunningham, his admirer and imitator, has at least equalled him in some pieces written in his manner. All pastoral poetry, however, it must be acknowledged, tends to a languor and insipidity proceeding from the monotony of the imagery and ideas, and the radical want of that reality which is requisite for exciting a lively interest.

Having thus proceeded through the different forms of kindred and dubious compositions, we come at length to what I should term song properly so called, which, as a species of poetical writing, it is the principal purpose of this Essay critically to consider. If language and versification resembling the rude efforts of early poetry be the characteristic of the

ballad,

ballad, the song should be distinguished by the opposite qualities of polish and correctness. It likewise takes a general distinction from its subjects, which do not admit of continued narrative, but are rather the expression of emotions and sentiments. A song, then, may be large

defined, a short poem, divided into portions of returning measure, adapted to vo cal music, and turning upon some single thought or feeling. This definition, it will be perceived, leaves a wide scope for particular subjects; and indeed I know of no other limitation in this respect than such as arises from the propriety of introducing some topics, and excluding others, on the occasions in which song is usually in request. The ancients, whose theological system comprised deities of all functions and characters, could ally to the most jocund strains of the lyric Muse the form of a hymn to Venus, Cupid or

Bacchus.

Bacchus. The purity of modern religion will not admit any union of that kind; and therefore, although devout hymns have synonymously been called Spiritual Songs, yet a broad line of distinction is drawn between them and the vocal strains meant for amusement. Moral topics, how ever, have not been entirely excluded from song-writing, and several pleasing productions of this kind exist, in which content, moderation, and the tranquil en joyment of life, are inculcated.

There is another fund of moral sentiment, if it may be so termed, from which both ancient lyric poetry and modern songs have drawn deeply. This is the epicurean system of ethics, which, from the consideration of the shortness of life, and the uncertainty of human affairs, derives an incentive to present pleasure. This theme we find perpetually recurring in the Odes of Anacreon and Horace, whence

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whence it has been transplanted into the gay and vocal poetry of modern times, of which it constitutes the prevailing strain of sentiment. In a certain temperate degree it coalesces with the rational philosophy before mentioned. When carried further, it may justly excite the censure of the moralist, whatever indulgence be pleaded for it on the grounds of precedent and poetical fitness. Yet as Milton, in his Comus," has not scrupled to let the advocate of pleasure be heard, and that, in very persuasive language, trusting to the counteraction of more solid arguments in favour of sobriety, it might perhaps be excess of rigour to banish from songpoetry every lively effusion of this kind.

k

The pleasures which this lax morality of poets has been chiefly employed to... excuse and vanish, have at all times been those of love and wine, allowable, indeed, in a certain degree to exhilarate the anxious

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