are
irregular, and the thoughts diffused with too much verbosity, yet it
cannot be denied to contain both philosophical argument and poetical
spirit.

Of the rest I cannot think any excellent: the Skylark pleases me best,
which has, however, more of the epigram than of the ode.

But the four parts of his Pastoral Ballad demand particular notice. I
cannot but regret that it is pastoral: an intelligent reader, acquainted
with the scenes of real life, sickens at the mention of the _crook_, the
_pipe_, the _sheep_, and the _kids_, which it is not necessary to bring
forward to notice, for the poet's art is selection, and he ought to show
the beauties without the grossness of the country life. His stanza seems
to have been chosen in imitation of Rowe's Despairing Shepherd.

In the first part are two passages, to which if any mind denies its
sympathy, it has no acquaintance with love or nature:

I priz'd ev'ry hour that went by,
Beyond all that had pleas'd me before;
But now they are past, and I sigh,
And I grieve that I priz'd them no more.

When forc'd the fair nymph to forego,
What anguish I felt in my heart!
Yet I thought (but it might not be so)
'Twas with pain that she saw me depart.

She gaz'd, as I slowly withdrew;
My path I could hardly discern;
So sweetly she bade me adieu,
I thought that she bade me return.

In the second, this passage has its prettiness, though it be not equal
to the former:

I have found out a gift for my fair;
I have found where the woodpigeons breed;
But let me that plunder forbear,
She will say 'twas a barbarous deed:

For he ne'er could be true, she averr'd,
Who could rob a poor bird of its young;
And I lov'd her the more when I heard
Such tenderness fall from her tongue.

In the third, he mentions the commonplaces of amorous poetry with some
address:

'Tis his with mock passion to glow!
'Tis his in smooth tales to unfold,
How her face is as bright as the snow,
And her bosom, be sure, is as cold;

How the nightingales labour the strain.
With the notes of his charmer to vie;
How they vary their accents in vain,
Repine at her triumphs and die.

In the fourth, I find nothing better than this natural strain of hope:

Alas! from the day that we met,
What hope of an end to my woes,
When I cannot endure to forget