The great, and particularly courtiers, are always the object of the spirited satirist. Hence, as the persons then in power were whigs, Whitehead of course took the side of the tories, Hence, also, his terrible aversion, at that time, to courts and drawing rooms, And yet, when the patrons to whom a congeniality of sentiment had recommended him, had, by a similar congeniality, recommended themselves to royal patronage, it was not found that either the secondary patron, or the poet, entertained an antipathy to courts or courtiers any longer. Whatever, however, may have been the tergiversation of this author as a politician, his merit as a poet was very considerable, The State Dunces sufficiently show that he possessed a manly strength of thought, and a rich vein of poetical expression,

ADVICE AND REPROOF.

All the essentials for satirical writing, were conspicuous in the genius and temper of Smollett, and it is much to be regretted that these productions are the only poetical specimene of his talents in that line which he ever gave to the world. It is true, every line of them bears testimony to the poetical and literary prejudices of their author, but they abound in manly sentiments and indignant satire, expressed in the most forcible and elegant language. In 1746 Smollett began his literary career by publishing Advice, without his name, in 4to. In this performance he attacks, with all the severity of Juvenal, several individuals of rank and fortune, who were suspected of some of the most odious vices of the times; and indulges his ironical vein with no small degree of freedom, in pointing out, to the scorn and reproach of the nation, the most powerful persons at that time in the administration of Government. As a first attempt it was deemed exceedingly imprudent by his friends; because from its peculiar acrimony, it was far more calculated to injure his own happiness by raising him powerful enemies, than to advance his reputation by the display of his satirical powers. Smollett was aware of the danger, and oblo

TASTE.

Armstrong, like Smollett, had qualifications both of mind and temper, richly adapted for satirical writing; but, unfortunately, the little in that line which he hath, left, is barely sufficient to gratify curiosity, and to make us regret that he did not do more. His poem entitled Taste, is a general satire, levelled at all pretenders to that quality in matters of literature. The coxcombs who, with opinions taken at second hand, pass judgment on an author without understanding him, are.

lashed with an unsparing hand; and those, whom fashion sometimes raises to the rank of wits, without any solid quality to support the spurious promotion, are treated with equal severity. It must be confessed, however, that though in general there is displayed great vigour of thought and expression in this poem, there is little harmony in the numbers, and the subject is not nearly so well treated as it has been by others. Pope had already shone in precisely the same line, and with so fine an example before him, Armstrong should have done better. As it is, the piece merely rises above mediocrity. The satire is good, but the poem is unworthy of the author of The Art of Preserving Health.

A DAY.

In this production, as in the poem of Taste, there is a spirited conciseness, a lively representation of characters, and a certain sprightliness and turn of wit, which gives pleasure to the reader; but at the same time there is a great want of harmony and polish in the verse; a circumstance which can only be ascribed to carelessness in the author; for no poet, in his higher efforts, ever exhibited a finer ear for smooth and harmonious versification. His poem entitled "The Art of Preserving Health," is in this respect, beyond all praise. That poem, as a didactic composition, it is well known, ranks with the productions of Lucretius, Horace, Virgil, Vida, and Boileau; while, for the elegance and harmony of its language, it is not surpassed by any piece of blank verse in the English language. But no other poet, perhaps, exhibits greater irregularities than Armstrong. While some of his compositions bear the stamp of perfection in every line, others can hardly be deemed superior to the productions of mediocrity.

ON POETRY-A RHAPSODY.

Of all the efforts of the celebrated Dean of St. Patrick's muse, this production is allowed to possess the highest merit, and to exhibit the most sustained flight of poetical expression. What renders this the more re

markable, is, that it was written at a period marked by the increase of infirmities and constitutional irritability, and when all his faculties, both mental and bodily, were beginning to decline. It was produced in 1733, and was prompted by the antipathy which he bore to Sir Robert Walpole and the Royal Family. The strain of the satire is ironical, and it is so admirably kept up, that Swift actually received the thanks of the Royal Family for the passages of praise addressed to them in the poem,-the most singular instance of obtuseness of intellect perhaps on record. It has been well remarked of the Dean, as a poet, that his numbers and the coincidence of his rhymes, always correct and natural, though often unexpected, distinguish the current of his compositions, which exhibit otherwise no mark of the difficulty with which these graces are attained. In respect of matter too, he seldom elevates his tone above a satirical diatribe, or moral lesson, or a poem on manners. Sometimes, however, the intensity of his satire gives to his poetry a character of emphatic violence, which borders upon grandeur. Such is peculiarly the characteristic of the Rhapsody on Poetry. Yet this grandeur is founded, not on sublimity either of conception or expression, but upon the energy of both, and indicates rather ardour of temper, than power of imagination. Facit indignatio versus. The elevation of tone arises from the strong mood of passion, rather than from poetical fancy. Swift himself accounted the Rhapsody his best satire, and surely with great justice.

THE LEGION CLUB.

In 1734 an almost general resistance having been mate in Ireland against the tithe of pasturage, the House of Commons interposed so effectually in behalf of the people, that the clergy were intimidated from making, and courts of law deterred from receiving, suits pon that ground. This circumstance, combined with others of a similar kind, which occurred at the same time, induced Swift and many of his brethren to regard the existing Irish House of Commons as determined

enemies to the rights of the Church. When the wrath of the priesthood is excited, it is not easily allayed. That of the Dean was on this occasion most effectually roused, and he gave vent to it in more than one indig nant poetical satire. But the production which attract ed greatest attention was the poem of the Legion Club As soon as it appeared, it excited a universal flame, and numerous prosecutions were threatened, though none actually took place.

In this production, it seems almost impossible that the poet should have sustained the extreme virulence of in vective with which the description opens. Yet when he descends from general to individual satire, every line has the sting of a hornet; and the Legion Club though written in old age and under the pressure of dis ease, may be pronounced the most animated, poignant) and bitter composition that ever came from the pen of its author. Independent of its satirical merits, this poem is also remarkable as being the last production of any length or importance which the Dean of St. Pa trick composed.

LIFE AND DEATH OF DEAN SWIFT.

The subject of these verses, which exhibit a singular compound of knowledge of mankind, satire, and misanthropy, is founded upon the well-known maxim of Rochefoucault, "That we find something not unpleas ing in the misfortunes of our best friends." It was originally intended by the author that they should not be published till after his death; but a spurious copy having got into circulation, in consequence of his hav ing shown the original to some of his friends, he alters his mind on this point, and gave Dr. King of Oxford a commission to publish them in London, in 1739. A ter all, however, they came out in a mutilated eor.dition for, as the characters of the Prime Minister, and Queen Caroline were touched with no gentle hand, the courage of Dr. King failed him, and he omitted all such sar casms as might be construed into a libe in conse quence of this, the Dean, who valued those passages