prehend this apparently easy passage. -The very first line

"But all our praises why should Lords engross?" was not understood for want of a clear idea of the meaning of the word engross. From similar causes several other lines were unintelligible, and the construction of interrogatory and exclamatory sentences were but imperfectly comprehended. It is possible that other children of the same age may not in this particular instance, find the same, or find any difficulties, but we are inclined to believe that upon a fair examination it would be found, that among the hundreds of lines of poetry which young people generally have learned by rote, not one half of the number is perfectly, or even imperfectly understood by the fluent little reciters. We beseech pa

rents and preceptors to make one experiment at least, on any lines quoted in the following book. They will thus be enabled to satisfy themselves of the utility or inutility of our explanations. If, in making this trial, it should happen that any parent or preceptor should feel provoked or mortified by his pupil's not understanding what it was supposed he clearly comprehended, let the preceptor call to mind some of the passages of poetry which he learned by rote in his childhood, let him recollect his own childish mistakes and misapprehensions, let him question his rational self, being now grown to years of discretion, how long it was before he came to the perfect possession of the sense of the poet.

The fact is, that we are all of us apt

to be caught by lines that sound agreeably. The harmonious cadences of verse, please the ear and captivate the judgement both in youth and age. Swift was so well aware of this propensity, that he wrote, as is well known, a sonnet, which from the beginning to the end, is absolute nonsense, but which from the mellifluous sound of the words, the musical effect of the measure, and the rhythm, passed on the fine lady and fine gentleman of that day as genuine poetry and sense, worthy of a person of quality. Since the time of Swift knowledge and literature, and the taste for poetry especially, have increased so rapidly, that it may be deemed impossible for any one of common education now to be imposed upon by so palpable a coun

terfeit.

Yet all who mark certain fashions of public taste in poetry, will acknowledge that there is still some little danger of a similar species of imposition on the judgement.

The

same propensity to be deceived by sweet sounding nonsense, or by

"The high sublime of deep absurd"

still, we apprehend exists, and probably will more or less prevail, as long, we will not say "as eloquence can move the soul," but certainly as long as "Song can move the sense.' This sort of delusion is not favourable to the progress of the human understanding. The true poet has an instinctive aversion to the poetaster-an antipathy as inveterate as that which every noble animal in

the creation has for its imitator, or

its ape.

We fear not, therefore, to offend, or to wound the feelings of

any real poet, by our expressions of contempt for the inferior species, who are distinguished from them by immutable characteristics-characteristics, which it is for their interest should be universally known and acknowledged, and which it shall be our endeavour, as far as our skill can go, to mark and describe clearly and indelibly in the minds of their youthful admirers. It is peculiarly necessary that this should be done in the present time, when the love of what Pope disdainfully calls, "poetry and prate," has spread so much, that the understandings of the rising generation are in danger of being overwhelmed by it, unless pre