that we draw our poets: and when we find a rare bodily exception to the rule, we find too often a mind insatiate of applause, and pining for more appreciation of their productions. The votaries of the muse cannot be set down as so happy and contented as many a ploughman, nor does the smoothness of the lines gratify the eye more than the smoothness of the furrow. But these rhymes of Gay hardly aspire to the height of poesy, nor do they possess the banter and raciness, such as we find in Butler's 'Hudibras':—

   Neither has it the deep pathos of the Spenserian stanza, which perhaps strives at the deepest vein of poetry. Take two of Thomson's, for example:—

   And another stanza runs thus:—

   Such is the

    stanza

   in which are written Spenser's 'Faërie Queen,' Thomson's 'Castle of Indolence,' and Byron's 'Childe Harold,' and it is the highest flight of poetry: after which comes the heroic verse, in which we lap the heavy poems we call epic—their Latin appellation; of these the Iliads of Homer and the Æneids of Virgil are the ever recurring aspirations of poets doomed to fall untimely. The charm of Homer is that it is not only a poem, but it instructs us in the history—all that we know of it—of those prehistoric days. It is full of ballads, which are the ground-work by which we trace the manners and the tenets of the pagan tribes. The truth involved in 'Homer' is the charm of his epic poem, while the falsehood involved in the 'Henriade' of Voltaire is amply sufficient to condemn it utterly. For a specimen let us take Pope's 'Homer,' where Hector answers Andromache's appeal to stay and guard the walls of Troy:—

   Next in pathos is the

    mournful

   elegy; of which none can surpass Gray's elegy:—

   Nursery rhymes, old ballads, odes, sonnets, epigrams, travesties, fables, satires, and eclogues, and, most of all, songs, provide daily pleasure for us from our cradle to the grave. Every language has its nursery rhymes, which are a sort of Delphian lot, sung in enigma from 'King Pittacus of Mytilene' and 'Le bon Roi Dagobert,' to the lullaby of 'Four-and-twenty Blackbirds.' There is as much sarcasm in nursery rhymes as there is of pride and boast in the songs of bards at the feast of heroes, and as there is of humble confession in the funeral psalm. Song tends alike to evaporate exuberant spirits, and to soothe the soul in an 

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