paper, which he had published in that year; but, except that the anonymous History of John Gilpin is extracted in the volume for 1783 from the Repository, we have nothing of Cowper's till we come to the volume for 1786, which contains two of the minor pieces published in his second volume. Crabbe was probably indebted for the distinction he received in part to his friend and patron Burke, under whose direction the Register was compiled; but the silence observed in regard to Cowper may be taken as not on that account the less conclusive as to the little or next to no impression his first volume made. Yet surely there were both a force and a freshness of manner in the new aspirant that might have been expected to draw some observation. Nor had there of late been such plenty of good poetry produced in England as to make anything of the kind a drug in the market. But here, in fact, lay the main cause of the public inattention. The age was not poetical. The manufacture of verse was carried on, indeed, upon a considerable scale, by the Hayleys and the Whiteheads and the Pratts and others (spinners of sound and weavers of words not for a moment to be compared in inventive and imaginative faculty, or in faculty of any kind, any more than for the utility of their work, with their contemporaries the Arkwrights and Cartwrights); but the production of poetry had gone so much out, that, even in the class most accustomed to judge of these things, few people knew it when they saw it. It has been said that the severe and theological tone of this poetry of Cowper's operated against its immediate popularity; and that was probably the case too; but it could only have been so, at any rate to the same extent, in a time at the least as

indifferent to poetry as to religion and morality. For, certainly, since the days of Pope, nothing in the same style had been produced among us to be compared with these poems of Cowper's for animation, vigour, and point, which are among the most admired qualities of that great writer, any more than for the cordiality, earnestness, and fervour which are more peculiarly their own. Smoother versification we had had in great abundance; more pomp and splendour of rhetorical declamation, perhaps, as in Johnson's paraphrases from Juvenal; more warmth and glow of imagination, as in Goldsmith's two poems, if they are to be considered as coming into the competition. But, on the whole, verse of such bone and muscle had proceeded from no recent writer,—not excepting Churchill, whose poetry had little else than its coarse strength to recommend it, and whose hasty and careless workmanship Cowper, while he had to a certain degree been his imitator, had learned, with his artistical feeling, infinitely to surpass. Churchill's vehement invective, with its exaggerations and personalities, made him the most popular poet of his day: Cowper, neglected at first, has taken his place as one of the classics of the language. Each has had his reward-the reward he best deserved, and probably most desired.

As the death of Samuel Johnson closes one era of our literature, so the appearance of Cowper as a poet opens another. Notwithstanding his obligations both to Churchill and Pope, a main characteristic of Cowper's poetry is its originality. Compared with almost any one of his predecessors, he was what we may call a natural poet. He broke through conventional forms and usages in his mode of writing more daringly than any English

poet before him had done, at least since the genius of Pope had bound in its spell the phraseology and rhythm of our poetry. His opinions were not more his own than his manner of expressing them. His principles of diction and versification were announced, in part, in the poem with which he introduced himself to the public, his Table-Talk, in which, having intimated his contempt for the " creamy smoothness" of modern fashionable verse, where sentiment was so often

sacrificed to sound, And truth cut short to make a period round,

he exclaims,

Give me the line that ploughs its stately course
Like a proud swan, conquering the stream by force;
That, like some cottage beauty, strikes the heart,
Quite unindebted to the tricks of art.

But, although he despised the "tricks" of art, Cowper, like every great poet, was also a great artist; and, with all its in that day almost unexampled simplicity and naturalness, his style is the very reverse of a slovenly or irregular one. If his verse be not so highly polished as that of Pope,-who, he complains, has

Made poetry a mere mechanic art,

And every warbler has his tune by heart,

it is in its own way nearly as

"well disciplined, complete, compact," as he has described Pope's to be. With all his avowed admiration of Churchill, he was far from being what he has called that writer

Too proud for art, and trusting in mere force.

On the contrary, he has in more than one passage descanted on "the pangs of a poetic birth ❞—on

the shifts and turns,

The expedients and inventions multiform,

To which the mind resorts, in chase of terms,
Though apt, yet coy, and difficult to win;—

and the other labours to be undergone by whoever would attain to excellence in the work of composition. Not, however, that, with all this elaboration, he was a slow writer. Slowness is the consequence of indifference, of a writer not being excited by his subject—not having his heart in his work, but going through it as a mere task ; let him be thoroughly in earnest, fully possessed of his subject and possessed by it, and, though the pains he takes to find apt and effective expression for his thoughts may tax his whole energies like wrestling with a strong man, he will not write slowly. He is in a state of active combustion-consuming away, it may be, but never pausing. Cowper is said to have composed the six thousand verses, or thereby, contained in his first volume, in about three months.

Not creative imagination, nor deep melody, nor even, in general, much of fancy or grace or tenderness, is to be met with in the poetry of Cowper; but yet it is not without both high and various excellence. Its main charm, and that which is never wanting, is its earnestness. This is a quality which gives it a power over many minds not at all alive to the poetical; but it is also the source of some of its strongest attractions for those that are. Hence its truth both of landscape-painting, and of the description of character and states of mind; hence its skilful expression of such emotions and passions as it allows itself to deal with; hence the force and fervour of its denunciatory eloquence, giving to some passages as fine an inspiration of the moral sublime as is perhaps anywhere to be found in didactic poetry.

Hence, we may say, even the directness, simplicity, and manliness of Cowper's diction-all that is best in the form, as well as in the spirit, of his verse. It was this quality, or temper of mind, in short, that principally made him an original poet; and, if not the founder of a new school, the pioneer of a new era of English poetry. Instead of repeating the unmeaning conventionalities and faded affectations of his predecessors, it led him to turn to the actual nature within him and around him, and there to learn both the truths he should utter and the words in which he should utter them.

After Cowper had found, or been found out by, his proper audience, the qualities in his poetry that at first had most repelled ordinary readers rather aided its success. In particular, as we have said, its theological tone and spirit made it acceptable in quarters to which poetry of any kind had rarely penetrated, and where it may perhaps be affirmed that it keeps its ground chiefly perforce of this its most prosaic peculiarity; although, at the same time, it is probable that the vigorous verse to which his system of theology and morals has been married by Cowper has not been without effect in diffusing not only a more indulgent toleration but a truer feeling and love for poetry throughout what is called the religious world. Nor is it to be denied that the source of Cowper's own most potent inspiration is his theological creed. The most popular of his poems, and also perhaps the one of greatest pretension, is his Task: it abounds in that delineation of domestic and every-day life which interests every body, in descriptions of incidents and natural appearances with which all are familiar, in the expression of sentiments and convictions to which most