of the couplet; and therefore does not often give examples of that greater compass and variety of melody which is obtained by longer clauses, or by breaking the coincidences of the cadence of sound and meaning. He also studiously rejects triplets and alexandrines. But allowing for the want of these sources of variety, he has sufficiently avoided monotony; and in the usual flow of his measure, he has gratified the ear with as much change, as judiciously shifting the line-pauses can produce.

Having made these general observations on the nature of GOLDSMITH's poetry, I proceed to a survey of his principal pieces.

The Traveller, or Prospect of Society, was first sketched out by the author during a tour in Europe, great part of which he performed on foot, and in circumstances which afforded him the fullest means of becoming acquainted with the most numerous class in society, peculiarly termed the people. The date of the first edition is 1765. It begins in the gloomy mood natural to genius in distress, when wandering alone,

"Remote, unfriended, melancholy, slow."

After an affectionate and regretful glance to the peaceful seat of fraternal kindness, and some

expressions of self-pity, the Poet sits down amid. Alpine solitudes to spend a pensive hour in meditating on the state of mankind. He finds that the natives of every land regard their own with preference; whence he is led to this proposition,that if we impartially compare the advantages belonging to different countries, we shall conclude that an equal portion of good is dealt to all the human race. He further supposes, that every nation, having in view one peculiar species of happiness, models life to that alone; whence this favourite kind, pushed to an extreme, becomes a source of peculiar evils. To exemplify this by instances, is the business of the subsequent descriptive part of the piece.

Italy is the first country that comes under review. Its general landscape is painted by a few characteristic strokes, and the felicity of its climate is displayed in appropriate imagery. The revival of arts and commerce in Italy, and their subsequent decline, are next touched upon; and hence is derived the present disposition of the people-easily pleased with splendid trifles, the wrecks of their former grandeur; and sunk into an enfeebled moral and intellectual character, reducing them to the level of children.

From these he turns with a sort of disdain, tò view a nobler race, hardened by a rigorous climate, and by the necessity of unabating toil. These are the Swiss, who find, in the equality of their condition, and their ignorance of other modes of life, a source of content which remedies the natural evils of their lot. There cannot be a more delightful picture than the Poet has drawn of the Swiss peasant, going forth to his morning's labour, and returning at night to the bosom of domestic happiness. It sufficiently accounts for that patriot passion for which they have ever been so celebrated, and which is here described in lines that reach the heart, and is illustrated by a beautiful simile. But this state of life has also its disadvantages. The sources of enjoyment being few, a vacant listlessness is apt to creep upon the breast; and if nature urges to throw this off by occasional bursts of pleasure, no stimulus can reach the purpose but gross sensual debauch. Their morals, too, like their enjoyments, are of a coarse texture. Some sterner virtues hold high dominion in their breast, but all the gentler and more refined qualities of the heart, which soften and sweeten life, are exiled to milder climates.

To the more genial climate of France the Tra

veller next repairs, and in a very pleasing rural picture he introduces himself in the capacity of musician to a village party of dancers beside the murmuring Loire. The leading feature of this nation he represents as being the love of praise; which passion, while it inspires sentiments of honour, and a desire of pleasing, also affords a free course to folly, and nourishes vanity and ostentation. The soul, accustomed to depend for its happiness on foreign applause, shifts its principles with the change of fashion, and is a stranger to the value of self-approbation.

The strong contrast to this national character is sought in Holland; a most graphical description of the scenery presented by that singular country introduces the moral portrait of the people. From the necessity of unceasing labour, induced by their peculiar circumstances, a habit of industry has been formed, of which the natural consequence is a love of gain. The possession of exuberant wealth has given rise to the arts and conveniences of life; but at the same time has introduced a crafty, cold, and mercenary temper, which sets every thing, even liberty itself, at a price. How different, exclaims the poet, from their Belgian ancestors! how different from the present race of Britain!

To Britain, then, he turns, and begins with a slight sketch of the country, in which, he says, the mildest charms of creation are combined,

"Extremes are only in the master's mind."

He then draws a very striking picture of a stern, thoughtful, independent freeman, a creature of reason, unfashioned by the common forms of life, and loose from all its ties ;-and this he gives as the representative of the English character. A society formed by such unyielding self-dependent beings, will naturally be a scene of violent political contests, and ever in a ferment with party. And a still worse fate awaits it; for the ties of nature, duty, and love, failing, the fictitious bonds of wealth and law must be employed to hold together such a reluctant association; whence the time may come, that valour, learning, and patriotism may all lie levelled in one sink of avarice. These are the ills of freedom; but the Poet, who would only repress to secure, goes on to deliver his ideas of the cause of such mischiefs, which he seems to place in the usurpations of aristocratical upon regal authority; and with great energy he expresses his indignation at the oppressions the poor suffer from their petty tyrants. This leads him to a kind of anticipation of the subject of his