and energetic. In the Prologue spoken before the masque of " Comus," for the benefit of Milton's grand-daughter, the charitable propensities of his heart, and his favourable disposition towards our incomparable poet, are manifested beyond all suspicion of affecta tion. "At length our mighty bard's victorious lays And baffled spite, with hopeless anguish dumb, His Odes on the seasons, though profess edly descriptive, belong to the lesser species of lyric composition, combining morality with gaiety, and vivacity with elegance. Those on Autumn and Winter are the best; though, with respect to description, the imagery in both is chiefly traditionary, and, in the latter, evidently a transcript from Horace. Among his lyric effusions, of which he seems to have been fond, we find many expressions exceedingly beautiful, as usual, moral, and unusually pathetic. They manifest, however, no traces of enthusiasm. They are not, we per ceive, the production of a warm fancy, impelled to give vent by poetry to its overflow. ing feelings. Those passions and objects which would inspire the genuine poetic mind with enthusiasm, pass by him unfelt and unnoticed. He is melancholy in Spring, and jocund in Winter; he lavishes no praises on the perfumed zephyrs, but moralizes on the vicissitudes of time, or commemorates the comforts of a cheering flaggon and a snug fire-side. His Ode to Friendship is of the same species of lyric composition, adapted to his powers, uniting, in just proportion, correctness and delicacy of sentiment, with beauty and elegance of expression. Evening, an Ode, and The Winter's Walk, addressed to Stella, a name celebrated in all his lyric compositions, are both distinguished by the same just mixture of sentiment and imagery, expressed in a strain of tender delicacy, which shews that he was neither ignorant of the feelings nor insensible to the joys of a lover. Of his address To Lyce, an el derly Lady, the idea, perhaps, is not original, but the images are happily selected and well expressed. The verses To Lady Firebrace; Stella in mourning; and On her playing upon the Harpsichord in a room hung with flower-pieces of her own painting; To Miss Hickman, playing on the spinet; To a Lady on receiving from her a sprig of myrtle, are occasional compositions, and of course derive their merit chiefly from local and temporary circumstances. The principal art in such compositions, is to make a trifling circumstance poetical or witty. In the verses on the Sprig of Myrtle, he has succeeded most happily. The Epitaph on Claude Phillips, the Paraphrase on Proverbs, and the verses on the Death of Stephen Gray, are nervous and elegant, and worthy the pen of Pope. Of the remaining pieces, some are parodies and burlesque verses, the suggestions of temporary incidents; and others are mere impromptus, which were never intended for the public eye. Many of them are sprightly and elegant, and may be read with plea sure; but they require no distinct enumeration or particular criticism *. * Some of the smaller poems enumerated here have not been received into the last collected edition of his Works, 8vo, 1810. A very beautiful translation of an elegant and pathetic passage in the Medea of Euripides, v. 190. introduced to the world in a late volume of "Translations from the Greek Anthology," &c. 8vo. may now be added to the collection of his poems. "The rites derived from ancient days But ne'er the lute nor lyre applied To sooth Despair or soften Pride, Where Madness raves and Vengeance swells; Ye sons of melody repair; Nor deign the festive hour to cloy The board with varied plenty crown'd May spare the luxury of sound." The Parody of a Translation of the same exquisite passage, among his Burlesque Verses, may be compared with Dr Warton's admirable imitation of it, which defies ridicule. Among the English poets who have cultivated Latin poetry, Johnson claims a place, in the first rank, next to Milton, Addison, and Gray. He was eminently skilled in the Latin tongue, and strongly attached to the cultivation of Latin poetry. The first fruits of his genius were compositions in Latin verse. His translation of Messiah, a college exercise, performed with great rapidity, received the praise of the university, and the approbation of Pope. Virgil was his model for language and versification. He has copied the varied pauses of his verse, the length of his periods, the peculiar grace of his expression, and his majestic dignity, with considerable success. The version is animated, intelligible, flowing, and faithful; at the same time, it certainly contains some unclassical and incorrect expressions, which are not to be examined with great severity of criticism *. His poem, Know yourself, in Virgilian verse, is the most elegant, energetic, and interest * It has been severely criticised by Dr Warton in his edition of Pope, vol. i. p. 105. 8vo, 1797. |
