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 have been wrought into more artful melody with little increase of real effect. Again, how many reams of scholastic Pastoral have missed the simple gaiety of one which does not affect to be a 'pastoral' at all:—

Of the remarkable Mad Song extracted by Southey in his Doctor, who probably valued the thin octavo, as became a great Collector, for its rarity and singularity, that poet has said nothing to show he recognised its dramatic power, the daring expression of things otherwise inarticulate, the unity of sentiment, the singular truth with which the key-note is struck and sustained, or the eloquent, broken music of its rhythm.

The 'marvellous Boy' that 'perished in his pride,' (1770) while certain of these very poems were being written, amid all his luxuriant promise, and memorable displays of Talent produced few so really original as some of them. There are not many more to be instanced of quite such rare quality. But all abound in lavish if sometimes unknit strength. Their faults are such alone as flow from youth, as are inevitable in one whose intellectual activity is not sufficiently logical to reduce his imaginings into sufficiently clear and definite shape. As examples of poetic power and freshness quickening the imperfect, immature form, take his verses To the Evening Star in which the concluding lines subside into a reminiscence, but not a slavish one, of Puck's Night Song in Midsummer Night's Dream; or the lament To the Muses,—not inapposite surely, when it was written; or again, the full-coloured invocation To Summer.

In a few of the poems, the influence of Blake's contemporary, Chatterton,—of the Poems of Rowley, i.e., is visible. In the Prologue to King John, Couch of Death, Samson, &c., all written in measured prose, the influence is still more conspicuous of Macpherson's Ossian, which had taken the world