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sentful; so that the interposition of friends was some. times necessary.

His wit and his poetry naturally connected him with the polite writers of his time: he was joined with lord Buckhurst in the translation of Corneille's Pompey; and is said to have added his help to that of Cowley in the original draft of the Rehearsal.

The care of his fortune, which Clarendon imputes to him in a degree little less than criminal, was either not constant or not successful; for having inherited a patrimony of three thousand five hundred pounds a year in the time of James the First, and augmented it at least by one wealthy marriage, he left, about the time of the Revolution, an income of not more than twelve or thirteen hundred; which when the different value of money is reckoned, will be found perhaps not more than a fourth part of what he once possessed.

Of this diminution, part was the consequence of the gifts which he was forced to scatter, and the fine which he was condemned to pay at the detection of his plot; and if his estate, as is related in his life, was sequestered, he had probably contracted debts when he lived in exile; for we are told, that at Paris he lived in splendour, and was the only Englishman, except the lord St. Alban's, that kept a table.

His unlucky plot compelled him to sell a thousand a-year; of the waste of the rest there is no account; except that he is confessed by his biographer to have been a bad economist. He seems to have deviated from the common practice; to have been a hoarder in his first years, and a squanderer in his last.

Of his course of studies, or choice of books, nothing is known more than that he professed himself unable to read Chapman's translation of Homer without rapHis opinion concerning the duty of a poet is

ture.

contained in his declaration, that "he would blot from his works any line that did not contain some motive to virtue."

The characters by which Waller intended to distinguish his writing are sprightliness and dignity; in his smallest pieces he endeavours to be gay; in the larger to be great. Of his airy and light productions, the chief source is gallantry, that attentive reverence of female excellence which has descended to us from the Gothic ages. As his poems are commonly occasional, and his addresses personal, he was not so liberally supplied with grand as with soft images; for beauty is more easily found than magnanimity.

The delicacy which he cultivated, restrains him to a certain nicety and caution, even when he writes upon the slightest matter. He has, therefore in his whole volume, nothing burlesque, and seldom any thing ludicrous or familiar. He seems always to do his best; though his subjects are often unworthy of his care.

It is not easy to think without some contempt on an author, who is growing illustrious in his opinion by verses, at one time, "To a Lady who can do any thing but sleep when she pleases;" at another, "To a Lady who can sleep when she pleases;" now, "To a Lady, on her passing through a crowd of people;" then, "On a braid of divers colours, woven by four Ladies;" "On a tree cut in paper," or, "To a Lady, from whom he received the copy of verses on the paper tree, which for many years had been missing."

Genius now and then produces a lucky trifle. We still read the Dove of Anacreon, and Sparrow of Catullus; and a writer naturally pleases himself with a performance which owes nothing to the subject. But compositions merely pretty have the fate of other

pretty things, and are quitted in time for something useful; they are flowers fragrant and fair, but of short duration; or they are blossoms to be valued only as they foretel fruits.

Among Waller's little poems are some which their excellency ought to secure from oblivion; as, To Amoret, comparing the different modes of regard with which he looks on her and Sacharissa; and the verses On Love, that begin, Anger in hasty words or blows.

In others he is not equally successful; sometimes his thoughts are deficient, and sometimes his expression.

The numbers are not always musical; as,

Fair Venus, in thy soft arms

The god of rage confine;

For thy whispers are the charms

Which only can divert his fierce design.

What though he frown, and to tumult do incline;

Thou the flame

Kindled in his breast can tame

With that snow which unmelted lies on thine.

He seldom indeed fetches an amorous sentiment from the depths of science; his thoughts are for the most part easily understood, and his images such as the superficies of nature readily supplies; he has a just claim to popularity, because he writes to common degrees of knowledge; and is free at least from philosophical pedantry, unless perhaps the end of a song to the sun may be excepted, in which he is too much a Copernican. To which may be added the simile of the palm, in the verses on her passing through a crowd; and a line in a more serious poem on the Restoration, about vipers and treacle, which can only be understood by those who happen to know the composition of the Theriaca.

His thoughts are sometimes hyperbolical, and his images unnatural:

-The plants admire,

No less than those of old did Orpheus' lyre:
If she sit down, with tops all tow'rds her bow'd;
They round about her into arbours crowd:
Or if she walks, in even ranks they stand,

Like some well-marshall'd and obsequious band.

In another place :

While in the park I sing, the listening deer
Attend my passion, and forget to fear:
When to the beeches I report my flame,
They how their heads, as if they felt the same.
To gods appealing, when I reach their bowers,
With loud complaints they answer me in showers.
To thee a wild and cruel soul is given !

More deaf than trees, and prouder than the heaven!

On the head of a stag:

O fertile head! which every year
Could such a crop of wonder bear!
The teeming earth did never bring
So soon, so hard, so huge a thing:
Which might it never have been cast,
Each year's growth added to the last,
These lofty branches had supply'd
The earth's bold son's prodigious pride;
Heaven with these engines had been scal'd,

When mountains heap'd on mountains fail'd.

Sometimes, having succeeded in the first part, he makes a feeble conclusion. In the song of "Sacharissa's and Amoret's friendship," the two last stanzas ought to have been omitted.

His images of gallantry are not always in the highest degree delicate.

Then shall my love this doubt displace,
And gain such trust that I may come
And banquet sometimes on thy face,

But make my constant meals at home.

Some applications may be thought too remote and unconsequential; as in the verses on the lady dancing:

The sun in figures such as these
Joys with the moon to play:

To the sweet strains they advance,

Which do result from their own spheres;

As this nymph's dance

Moves with the numbers which she hears.

Sometimes a thought, which might perhaps fill a distich, is expanded and attenuated till it grows weak and almost evanescent:

Chloris! since first our calm of peace

Was frighted hence, this good we find,
Your favours with your fears increase,
And growing mischiefs make you kind.
So the fair tree, which still preserves

Her fruit, and state, while no wind blows,
In storms from that uprightness swerves:
And the glad earth about her strows

With treasure from her yielding boughs.

His images are not always distinct; as, in the following passage, he confounds Love as a person with Love as a passion :

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The coldest breast, the rudest tame.

His sallies of casual flattery are sometimes elegant and happy, as that in return for the silver pen; and sometimes empty and trifling, as that upon the card torn by the queen. There are a few lines written in the duchess's Tasso, which he is said by Fenton to have kept a summer under correction. It happened to Waller, as to others, that his success was not always in proportion to his labour.

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