Melodious voices, though to heavenly airs
Attuned no longer, still in sweet accord
Echo the festive song, now full combined,
Pouring the choral torrent on the ear,
In parts responsive warbling now by turns
Their sprightly, quick divisions, swelling now
Through all the compass of their tuneful throats
Their varying cadences, as fancy prompts.
Whereat the Stygian herd, like them of old
Lull'd by the Theban minstrel, stood at gaze
Mute and appeased: for music hath a voice
Which e'en the devils obey, and for a while
Sweet sounds shall lull their turbid hearts asleep,
Charm'd into sweet oblivion and repose.
The praise of Mammon the rapt seraphs sung
And gold's almighty power; free flow'd the verse;
No need to call the muse, for all were there,
Apollo, and the Heliconian maids,

And all that Pagan poet e'er invoked

Were present to the song. Above the flight

Of bold Alcæus, Tisias bard divine,

Or Pindar's strain Olympic, high it soar'd
In dithyrambic majesty sublime."

Of Didactic Poetry.

THAT species of poetry termed didactic, has been so named because its chief object, is to teach the principles of some branch of art, of science, or of morals. It may contain the same information, on the subject of which the author treats, that is to be found in any

prose composition; but besides the embellishment of verse, it is generally recommended by sallies of imagination, pleasing descriptions, and interesting episodes.

The author who is desirous of attaining success, is careful to collect all the best theories and most approved practices, and to arrange them, with the reasons of them, in such order as is likely to make the deepest impression. He is solicitous to add dignity to his illustrations, by the use of figurative and descriptive phraseology; and in order to effect this, he seldom calls the objects of which he treats by their proper names, but employs elevated and metaphorical appellations, or describes them by their causes or effects.

The principal ornaments of didactic poetry are beautiful and interesting episodes; and if these are not too long, or too frequently introduced, they procure for the author praise, rather than censure.

The poets in this island who have been most successful in didactic poetry are Pope, Philips, Akenside, Armstrong, Somervile, Dyer, and Mason. To notice the peculiar merits of each would extend this article to an improper length; I shall therefore introduce one quotation only, from The Fleece,' by

Dyer. The first book concludes with a description of the rural festivities at a sheep-shearing on the banks of the Severn:

"Beneath each blooming arbour, all is joy
And lusty-merriment: while on the grass
The mingled youth in gaudy circles sport,
We think the golden age again return'd,
And all the fabled Dryades in dance.

Leering they bound along with laughing air
To the shrill pipe, and deep remurmuring chords
Of the' ancient harp, or tabor's hollow sound.
While the' old apart, upon a bank reclined,
Attend the tuneful carol, softly mixt
With every murmur of the sliding wave,
And every warble of the feathered choir;
Music of paradise! which still is heard,
When the heart listens."

Of Dramatic Poetry.

DRAMATIC poetry differs from every other, both in its form and in its end. Its name is expressive of its nature. A fable is invented, and a moral is generally proposed to be inculcated by the incidents of that fable; but the poet does not relate the speeches and actions of the characters, as in epic poetry. The characters appear, and act, and speak for themselves.

The professed end of tragedy is to accustom the mind to the practice of what is right and good, by exciting and strengthening virtuous passions and feelings; that of comedy, is to exhibit agreeable pictures of life, and to ridicule follies and irregularities, whether in character, manners, opinion, or conduct. From this view, dramatic composition and representation must appear not only laudable, but in the highest degree useful, and calculated to produce the best effects on the morals of the people. This, however, is an opinion which some may regard as doubtful. is not my intention to examine its merits; but I shall subjoin for the consideration of my youthful readers the following observations of a sensible writer on this subject.

It

"If we consider," says he, " the stage as a school of morals, I apprehend it cannot with truth be asserted, that the youths, who behold most frequently the examples there exhibited of vices and follies, which ought to be avoided, are the least liable to follow them.'

"Scenes presenting passions and vices, round which the poet throws the veil of magnanimity, which he decorates with the pomp of verse, with the splendour of eloquence, familiarize the mind to their appearance,

and take from them that natural disgust, which the crimes presented in their native form, would certainly excite. Cruelty, revenge, and murder, are often the attributes of the hero, for he must always be the hero, on whom the principal stress of the action lies. But even of the nobler characters, does not the morality of sentiment often yield to the immorality of situation? Treachery is often the fruit of wisdom and resolution; murder, an exertion of valour; and suicide, the resource of virtuous affliction. The sentiments of the stage will always be such as are flattering, rather than corrective of national manners, and national failings; in every popular exhibition this must be the case. But the very existence of the stage depends on that public opinion which it is not to reform, but to conciliate; and Dr. Johnson's expression is not the less true for its quaintness;

< They that live to please, must please to live.""

Considering dramatic compositions in their literary character, they often exhibit the most astonishing efforts of genius. They have been written by the greatest poets of all ages and countries. In our own island, almost all the poets who have been noticed as excelling in other departments, have written dramas ;