mind with change of language and succession of images; every couplet when pro duced is new, and novelty is the great source of pleasure. Perhaps no man ever thought a line superfluous when he first wrote it, or contracted his work till his ebullitions of invention had subsided. And even if he should control his desire of immediate renown, and keep his work nine years unpublished, he will be still the author, and still in danger of deceiving himself: and if he consults his friends, he will probably find men who have more kindness than judgment, or more fear to offend than desire to instruct.

The tediousness of this poem proceeds not from the uniformity of the subject, for it is sufficiently diversified, but from the continued tenour of the narration; in which Solomon relates the successive vicissitudes of his own mind, without the intervention of any other speaker, or the mention of any other agent, unless it be Abra; the reader is only to learn what he thought, and to be told that he thought wrong. The event of every experiment is foreseen, and therefore the process is not much regarded.

Yet the work is far from deserving to be neglected. He that shall peruse it will be able to mark many passages, to which he may recur for instruction or delight; many from which the poet may learn to write, and the philosopher to reason.

If Prior's poetry be generally considered, his praise will be that of correctness and industry, rather than of compass of comprehension, or activity of fancy. He never made any effort of invention: his greater pieces are only tissues of common thoughts; and his smaller, which consist of light images or single conceits, are not always his own. I have traced him among the French epigrammatists, and have been informed, that he poached for prey among obscure authors. The Thief and Cordelier is, I suppose, generally considered as an original production: with how much justice, this epigram may tell, which was written by Georgius Sabinus, a poet now little known or read, though once the friend of Luther and Melancthon :

DE SACERDOTE FUREM CONSOLANTE.

Quidam sacrificus furem comitatus euntem
Huc ubi dat sontes carnificina neci,
Ne sis mæstus, ait; summi conviva Tonantis.
Jam cum cœlitibus (si modo credis) eris.

Ille gemens, si vera mihi solatia præbes,
Hospes apud superos sis meus oro, refert.
Sacrificus contra; inihi non convivia fas est
Ducere, jejunans hac edo luce nihil.

What he has valuable he owes to his diligence and his judgment. His diligence has justly placed him amongst the most correct of the English poets; and he was one of the first that resolutely endeavoured at correctness. He never sacrifices accuracy to haste, nor indulges himself in contemptuous negligence, or impatient idleness: he has no careless lines, or entangled sentiments; his words are nicely selected, and his thoughts fully expanded. If this part of his character suffers an abatement, it must be from the disproportion of his rhymes, which have not always sufficient consonance, and from the admission of broken lines into his Solomon; but perhaps he thought like Cowley, that hemistichs ought to be admitted into heroic poetry.

A whimsical typographical ANECDOTE. MR R. Prior, whofe rhymes in his humor

ous pieces are frequently half-words, fent a performance to the prefs with a line that ended with the word Del. The printer, who was afterwards lord-mayor of London, and confequently, as may be fuppofed, a man of fome learning, thinking it tood for the Latin word Dele, leave out, omitted the fyllable, and put a stop to

the rhyme. Prior fent back the proof The printer,

fheet, and restored Del. who was well acquainted with Dele, but knew not what to make of Del, compleated the line by printing Dele. This blunder entirely spoilt the rhyme, and made nonfenfe of the paffage. Prior, out of all patience, ag in biotted out Dele, and writ in its place Del, with a p-x. The printer returned the fheet, ending the line by D.I with a p-x.

He had apparently such rectitude of judgment as secured him from every thing that approached to the ridiculous or absurd; but as laws operate in civil agency not to the excitement of virtue, but the repression of wickedness, so judgment in the operations of intellect can hinder faults, but not produce excellence. Prior is never low, nor very often sublime. It is said by Longinus of Euripides, that he forces himself sometimes into grandeur by violence of effort, as the lion kindles his fury by the lashes of his own tail. Whatever Prior obtains above mediocrity seems the effort of struggle and of toil. He has many vigourous but few happy lines; he has every thing by pur-" chase, and nothing by gift; he had no nightly visitations of the Muse, no infusions of sentiment or felicities of fancy.

His diction, however, is more his own than of any among the successors of Dryden; he borrows no lucky turns, or commodious modes of language, from his predecessors. His phrases are original, but they are sometimes harsh; as he inherited no elegances, none has he bequeathed. His expression has every mark of laborious study; the line seldom seems to have been formed at once; the words did not come till they were called, and were then put by constraint into their places, where they do their duty, but do it sullenly. In his greater compositions there may be found more rigid stateliness than graceful dignity.

Of versification he was not negligent: what he received from Dryden he did not lose; neither did he increase the difficulty of writing by unnecessary severity, but ses triplets and Alexandrines without scruple. In his preface to Solomon he proposes some improvements, by extending the sense from one couplet to another, with variety of pauses. This he has attempted, but without success; his interrupted lines. are unpleasing, and his sense, as less distinct, is less striking.

He has altered the stanza of Spenser, as a house is altered by building another in its place of a different form. With how little resemblance he has formed his new stanza to that of his master, these specimens will show:

SPENSER.

She, flying fast from Heaven's hated face,
And from the world that her discover'd wide,
Fled to the wasteful wilderness apace,
From living eyes her open shame to hide,
And lurk'd in rocks and caves long unespy'd.
But that fair crew of knights, and Una fair,

Did in that castle afterwards abide,

To rest themselves, and weary powers repair,

Where store they found of all, that dainty was and rare,

PRIOR.

To the close rock the frighted raven flies,

Soon as the rising eagle cuts, the air:

The shaggy wolf unseen and trembling lies,
When the hoarse roar proclaims the lion near.
Ill-starr'd did we our forts and lines forsake,
To dare our British foes to open fight:
Our conquest we by stratagem should make;
Our triumph had been founded in our flight.
'Tis ours, by craft and by surprise to gain;

"Tis theirs to meet in arms, and battle in the plain.

By this new structure of his lines he has avoided difficulties; nor am I sure that he

has lost

any

of the power of pleasing; but he no longer imitates Spenser.

Some of his poems are written without regularity of measure; for, when he commenced poet, be had not recovered from our Pindaric infatuation; but he probably lived to be convinced, that the essence of verse is order and consonance.

His numbers are such as mere diligence may attain; they seldom offend the ear, and seldom soothe it; they commonly want airiness, lightness, and facility; what is smooth is not soft. His verses always roll, but they seldom flow.

A survey of the life and writings of Prior may exemplify a sentence which he doubtless understood well, when he read Horace at his uncle's: "The vessel long retains the scent which it first receives." In his private relaxation he revived the tavern, and in his amorous pedantry he exhibited the college. But on higher occasions and nobler subjects, when habit was overpowered by the necessity of reflection, he wanted not wisdom as a statesman, or elegance as a poet.