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See William Frend's Principles of Taxation, and William Morgan's Statement of Facts.

This subject is argued with great learning, more particularly on the article of war, by Algernon Sydney, in his Discourses on Government, Ch. ii. sect. 21, 22, 23; and has lately been well examined by Anthony Robinson, and historically traced, with respect to the wars of Great Britain.

Alludes to William Frend's Treatise of Algebra, in which he opposes the doctrine of negative quantities, as laid down in the books of Algebra taught in our Universities.

Alludes to Benjamin Malkin's Essays on Subjects connected with Civilization.

The reader must indulge the author here in a little poetical language, in describing the force of genius.

The finest blossoms of poetry have been consecrated to the cause of virtue, as the respectable translator of Euripides, Michael Wodhull, has shewn, in a poem, entitled the Use of Poetry, in a small volume of poems (the principal of which is, the Equality of Mankind), that has, I believe, only been circulated among the author's friends. I wish that impartial pen had not been obliged to give two or three instances of great deviation from the simplicity and greatness of the poetic character in two excellent English poets.

See this subject elegantly handled in Samuel Rogers's Epistle to a Friend.

The fine collection of statues, at Wilton-House, in the possession of the Earl of Pembroke, is well known.

Some of the most beautiful French tapestry in this kingdom is at the Duke of Argyle's seat, at Inverary, Argyleshire.

For an account of the peculiar taste of Browne, in laying out ground, see Mason's English Garden, Gilpin's Essays, and Price on the Picturesque, as compared with the Sublime and Beautiful. The place where Browne has displayed the utmost exertion of his skill is at Blenheim-House, the seat of the Duke of Marlborough, in Oxfordshire.

The Florentine Gallery, in which was the celebrated Venus de Medicis; the Vatican, at Rome, where the Apollo Belvidere, and Laocoon, formed the principal ornaments; the Villa Borghese, replete with the finest statues, and the most exquisite paintings; the Farnese Palace, &c. &c. all well known to travellers and readers of travels.—The fine arts were advanced to such high perfection no where as in Italy. See De Pile's Abridgement of the Lives of the Roman and Florentine Painters. Most of the above statues have been lately removed to Rome.

The Duke of Roxburgh, and Earl Spencer, have splendid and valuable libraries.

A gentleman lately deceased, well known for his valuable library and museum.—Michael Wodhull, mentioned in a former note, is in possession of a valuable collection of books, enriched, as I perceive, from Dr. Askew's catalogue, with many of that gentleman's splendid editions.—Thomas Brand Hollis has a fine collection of antiques, at his seat called the Hide, near Colchester, in Essex.

Tibullus. lib. i. el. 4.

Henlry's Translation.

Virgil. Georgic. lib. xi. 533.

Every thing said by mehere, or elsewhere, aboutindustry, attention to a profession, working for the booksellers, and the like, must be considered with its appropriate application. If the poet enjoys an easy independence, and can pursue the otium cum dignitate, he may be pronounced,

But miserable is the man, who amidst poverty is intoxicated with an imaginary independence! He, who is destitute of fortune, that is the poet I am addressing in this poem, must find resources in himself, and take for his motto, Labor omnia vincit.

Tibullus, lib. i. el. 4.

Henley.

Petrarch. Sonnetto xix.

Petrarch.

The great error of this ingenious youth, on his coming to town, was improvidence. See his life by Dr. Gregory, in the Biographia Britannica.

It was the advice of Gray to his friend West, when leaving College for the Bar; “Cherish the sweets of poetry in your bosom; they will serve you now and then to correct the disgusting sober follies of the Common Law. Misce stultitiam consiliis brevem: dulce est desipere in loco. So said Horace to Virgil, those two sons of Anac in poetry, and so say I to you, in this degenerate land of pigmies,

Mason's Life of Gray, p. 15.

It deserves observation, that some of the most successful poets of the present day have been in professions. I think it of great importance to mention this circumstance.

Ο ποιητης, in the sense laid down by Aristotle.

On this subject enough has already been said.

After what has been said in the preface concerning the excellence and sublimity of lyric poetry, the reader cannot suppose, that I mean to speak degradingly of it here. By no means. We have, indeed, few compositions of this kind truly excellent in the English language, and the reason is, so much goes to constitute the perfection of this species of poetry. But we have not many compositions that possess so much genuine poetry as Dryden's Ode on St. Cæcilia's day, and Gray's and Collins's Odes; though in proportion as they come nearer to perfection, severe criticism will more clearly discover each smaller blemish. And, indeed, we have lately had some successful attempts at this refined species of writing. I speak in the text, only of its productiveness. Dryden took a fortnight to compose his Ode on St. Cæcilia's day. I never heard that he got any thing for it. Collins starved over sublime odes; and Gray, too proud to receive pay from booksellers, gave his lyric performances to Dodsley the Bookseller.

Two or three successful plays would produce more profit to an author, than all the epic poems written in England, put together. The reader, however, should take with him, that managers are not always manageable themselves; that the public taste is now as ricketty and corrupt, as in the times of Pope; and that a play, never acted, is no commodity for book-sellers. Moreover, he should be prepared to answer, at the bar of his own taste and conscience, whether he is disposed to make the due sacrifices to stage effect. Such sacrifices, in times like the present, will not be inconsiderable.—If a person of genius can surmount these difficulties, I congratulate him;—he may proceed.

This is, however, all said, as I hinted in a former place, with the greatest deference to dramatic works of real excellence; such are some of Inchbald's comedies (I mean her originals), Sheridan's, and a few others.

Monsieur de la Mott wrote an ode, called l'Ombre d'Homere. That would not suit my rhyme.

To abuse people in plain English, and to get men of quality to translate the Greek and Latin notes, is, it seems, the via ad astra now. Pope has hinted as much in his notes to the Dunciad.

See Wieland's Oberon, book the first.

Burger's Leonora, and various imitations. The works I allude to are works of genius, and the species of composition is popular. A writer, however, will here stand on the edge of a precipice, and may soon fall into errors pointed out by Longinus, Plutarch, Horace, and Persius.

The ingenious Robert Southey, in his Travels into Spain and Portugal—who has given a large account of the Spanish and Portugueze poetry—observes, that it rather exhibits “an age of genius than of taste.”

For an account of Lope de Viga's poetry, particularly his Tears of Angelica, see Southey's Travels. The Spanish and Portugueze poetry will, I understand, be soon published in a separate volume.

As the great object of poetry is to please (See Aristotle, Περι ποιητικης) he who best secures that point, whether he write on humorous or serious subjects, acts most agreeably to the character of a poet, and will be most successful as a writer. The poems that have had the most extensive sale in the present day, are in extremes with regard to each other; one being replete with religious sentiment and solemn latire; the other with fun and banter.

That the principal and immediate aim of poetry is, to please, has been opposed by Julius Scaliger, and some other critics. But though I must admit that,

yet will I still abide by Aristotle's and Plutarch's opinion, that the immediate object of poetry is, to please, and that even in solemn subjects poetry is used to render them more engaging and agreeable. Poetry, therefore, must not, as Lord Bacon expresses it, “buckle and bow, too much, the mind to the nature of things.”

By this principle should we examine all the mysteries of poetry, whether of sentiment, figure. or expression. In maintaining, that the immediate and principal object of poetry, is to please, I do but speak after two very serious writers, Bishop Lowth, and Bishop Hurd. Poeticam igitur eo præcipue utilem esse statuo, quod sit jucunda, says the former. Prælect. prima. “The art of poetry,” says the latter, “will be, universally, the art of pleasing; and all its rules, but so many means, which experience finds most conducive to that end.” See his Critical Dissertations subjoined to his Commentary on Horace's Epistles to the Pisos and Augustus.

Anstey's New Bath Guide, a favourite poem, that has gone through many editions. The Eloisa en Dishabille is a poem on the same taste, though on a different subject, a humourous version of Pope's Epistle from Eloisa to Abelard, published in 1794. Both are poems, justly to be admired for their wit.

Swift and Rochester, however, have their great admirers, and their portion of popularity; and I am aware that many read Ovid's Art of Love, who will never read his metamorphosis. General utility, however, and the hazard such writers run of not succeeding, is a sufficient ground for my prudential hints.

See the History of Lewis Cornaro, a Venetian nobleman; his Discourses on a sober and temperate life, are well known. There is an account of them in the Spectator, No. 195.

See Plutarch, de audiend. Poetis.

Nobody has written more earnestly and poetically on the Furor poeticus than Plato, more particularly in his Phædrus.

Ex Eudulo.

Whence Sir William Temple derived his rule, so frequently quoted; “The first glass may pass for health; the second for good humour; the third for our friends; but the fourth for our enemies.”—See his Treatise on health and long life.

The reader will please not to confound my hints with the strict rules of dogmatical egotists; but as accommodated to the predominant principle in this poem, general utility.

I have already hinted at the danger of laying aside a profession for poetry. If, however, my poet should venture to make literature his profession, he will, probably, soon find out, that he cannot afford to be always writing poetry. Goldsmith undertook several prose works, and found his account in following the advice of booksellers. And (if I might be allowed to give counsel) I would recommend an attention to the same rule; so far as relates to prose writing. In poetry, genius will judge for itself of proper subjects, and abide by that judgment. I have said nothing concerning the printing, the form of the book, the paper, and the decorations. These things, however, are worthy the poet's consideration, in these times. The book-seller is the proper adviser. Many useful hints may be collected from Fawcet's Art of Poetry.

This property of the Δικταμνος peculiar to Crete is mentioned by Ælian. Var. Hist. See also Virgil's Æneid, L. xii. v. 411.