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The volume here presented to the public is an attempt to improve upon the plan of the Elegant Extracts in Verse by the late Dr. Knox. From the length of time which had elapsed since the first appearance of that work, a similar undertaking admitted of considerable additions; and though the table of contents has been enriched both from recent and early sources, the size of the volume has been compressed by means of a more severe selection of matter. At least, a third of the former popular and in many respects valuable work was devoted to articles either entirely worthless, or recommended only by considerations foreign to the reader of poetry. The object and indeed ambition of the present compiler has been to offer to the public a BODY OF ENGLISH POETRY, such as might at once satisfy individual curiosity and justify our national pride. We have reason to boast of the genius of our country for poetry and of the trophies earned in that way; and it is well to have a collection of such examples of excellence inwoven together as may serve to nourish our own taste and love for the sublime or beautiful, and also to silence the objections of foreigners, who are too ready to treat us as behindhand with themselves in all that relates to the arts of refinement and elegance. If in some respects we are so, it behoves us the more to cultivate and cherish the superiority we can lay claim to in others. Poetry is one of those departments in which we possess a decided and as it were
natural pre-eminence: and therefore no pains should be spared in selecting and setting off to advantage the different proofs and vouchers of it.
All that could be done for this object, has been attempted in the present instance. have brought together in one view (to the best of my judgment) all the most admired smaller pieces of poetry in the language, and the most striking passages in larger works, which could not themselves be given entire. I have availed myself of the plan chalked out by my predecessor, but in the hope of improving upon it. To possess a work of this kind ought to be like holding the contents of a library in one's hand, without any of the refuse or“ baser matter.” If it had not been thought that the former work admitted of considerable improvement in the choice of subjects, inasmuch as inferior and indifferent productions not rarely occupied the place of sterling excellence, the present publication would not have been hazarded.—Another difference is that I have followed the order of time, instead of the division of the subjects. By this method, the progress of poetry is better seen and understood; and besides, the real subjects of poetry are so much alike or run so much into one another, as not easily to come under any precise classification.
The great deficiency which I have to lament is the small portion of Shakespear's poetry, which has been introduced into the work; but this arose unavoidably from the plan of it, which did not extend to dramatic poetry as a general species. The extracts from the best parts of Chaucer, which are given at some length, will, it is hoped, be acceptable to the lover both of poetry and history. The quotations from Spenser do not occupy a much larger space than in the Elegant Extracts; but entire passages are given, instead of a numberless quantity of shreds and patches. The essence of
Spenser's poetry was a continuous, endless flow of indescribable beauties, like the galaxy or milky way:-Dr. Knox has “ taken him and cut him out in little stars," which was repugnant to the genius of his writings. I have made it my aim to exhibit the characteristic and striking features of English poetry and English genius; and with this view have endeavoured to give such specimens from each author as shewed his peculiar powers of mind and the peculiar style in which he excelled, and have omitted those which were not only less remarkable in themselves, but were common to him with others, or in which others surpassed him, who were therefore the proper models in that particular way. Cuique tribuitur suum. In a word, it has been proposed to retain those passages and pieces with which the reader of taste and feeling would be most pleased in the perusal of the original works, and to which he would wish oftenest to turn again—and which consequently may be conceived to conduce most beneficially to form the taste and amuse the fancy of those who have not leisure or industry to make themselves masters of the whole range of English poetry. By leaving out a great deal of uninteresting and commonplace poetry, room has been obtained for nearly all that was emphatically excellent. The reader, it is presumed, may here revel and find no end of delight, in the racy vigour and manly characteristic humour, or simple pathos of Chaucer's Muse, in the gorgeous voluptuousness and romantic tenderness of Spenser, in the severe, studied beauty and awful majesty of Milton, in the elegance and refinement and harmony of Pope, in the strength and satire and sounding rhythm of Dryden, in the sportive gaiety and graces of Suckling, Dorset, Gay, and Prior, in Butler's wit, in Thomson's rural scenes, in Cowper's terse simplicity, in Burns's laughing eye and feeling heart (among standard and established
Sir PHILIP SIDNEY is an affected writer, but with great power of thought and description. His poetry, of which he did not write much, has the faults of his prose without its recommendations.
DRAYTON has chiefly tried his strength in description and learned narrative. The plan of the Poly-Olbion (a local or geographical account of Great Britain) is original, but not very happy. The descriptions of places are often striking and curious, but become tedious by uniformity. There is sonje fancy in the poem, but little general interest. His Heroic Epistles have considerable tenderness and dignity; and, in the structure of the verse, have served as a model to succeeding writers.
DANIEL is chiefly remarkable for simplicity of style, and natural tenderness. In some of his occasional pieces (as the Epistle to the Countess of Cumberland) there is a vast philosophic gravity and stateliness of sentiment.
Sir JOHN SUCKLING is one of the most piquant and attractive of the Minor poets. He has fancy, wit, humour, descriptive talent, the highest elegance, perfect ease, a familiar style and a pleasing versification. He has combined all these in his Ballad on a Wedding, which is a masterpiece of sportive gaiety and goodhumour. His genius was confined entirely to the light and agreeable.
GEORGE WITHER is a poet of comparatively little power; though he has left one or two exquisitely affecting passages, having a personal reference to his own misfortunes.
WALLER belonged to the same class as Suckling—the sportive, the sparkling, the polished, with fancy, wit, elegance of style, and easiness of versification at his command. Poetry was the plaything of his idle hours--the mistress, to whom he addressed his verses, was his real Muse. His lines on the Death of Oliver Cromwell are however serious, and even sublime.
MILTON was one of the four great English poets, who must certainly take precedence over all others, I mean himself, Spenser, Chaucer, and Shakespear. His subject is not common or natural indeed, but it is of preternatural grandeur and unavoidable interest. He is altogether a