House, relative to the different orders of architecture. That building has been over-criticized, as a modern writer * on the Picturesque has observed, by principles which it disowns, and has beauties peculiar to itself, which critics, judging by those principles, are apt to overlook.

This prepares the way for a few allusions to what has been called the picturesque in poetry, in reference to the picturesque in scenery, or, perhaps, in reference to a term in architecture, might be called the composed; as being not reducible to any of the orders of poetry, but as consisting of the varieties; parts of which, perhaps, belong to a particular order, but which, as a whole, is made up according to the genius of a particular age, or the taste of a particular writer. This description of poetic writing is not seldom of the energetic, sublime character; and two or three Asiatic poets, of this description, shall be here noticed, as being the most illustrative of my idea.

The first is an Arabian poet, Ebn Arabshah, the author of The History of TIMUR, described by Sir William Jones as an admirable writer. This poem abounds, according to his account, with beautiful images, with pleasing narrations, and descriptions of nature, manners, and passions, is so illuminated with magnificent figures, and a sweet variety of numbers, and interspersed with such a copiousness of elegance, that nothing could have been conceived better fitted for delighting or instructing, or for

* Mr. Gilpin, Observations relative to Picturesque Beauty, vol. i. p. 26.

moving the reader. Compared with the idyls and odes of the Arabians,-I all along borrow Sir William Jones's words, it is mere prose, yet capable of being distinguished by the sweetest and best regulated rhythm; not regulated by the strict laws either of tragedy or of epic poetry, but partaking of some of the best properties of both.

The next is a Persian poet, Ferdushee, the author of that wonderful poem already alluded to, as being copiously illustrated by Mr. Scot Waring. This too, from its complex nature, seems to take too eccentric flights, to try too boundless a range, for the epic, and must therefore be considered, for character, design, and execution, as of the same description of poetry with the History of Timur, and as possessing, like that, uncommon vigour, and the sublimest representations.

Some works, considered as the most highly poetical among the Hindoos, are in prose, like Fenelon's Telemachus, or the Death of Abel by Gesner: others are in prose and verse. Of their dramatic works,-which of all their compositions best suit the taste of Europeans,—the most singular performance is that of BHAVABHUTI, as illustrated by Mr. Colebrooke. It is in prose and verse, -written in different dialects,-of enormously long metres, and full of magic and supernatural powers. Some, which we should call its peculiarities, the Hindoos would pronounce its excellencies; as some of its excellencies the Hindoos may deem its peculiarities. Yet Mr. Colebrooke proclaims it, in general terms, as "the unri

valled drama,” and, in reference to Sanscrit literature, as "of the highest order of composition *."

These are considered as the most excellent poets of those nations; and, however defective in parts,—I speak in reference to the objections already made, or to any models formed after a Greek or European model,-are, probably, worthy of being thought great among the poets of any nation. For, however defective they may be in the constitution of the fable, and the other unities of Aristotle, the minuter excellencies of the epic and drama,yet in the greatest †, even in the judgement of Aristotle himself, they are allowed to be very excellent; and accordingly Sir William Jones, forgetting their defects, or rather absorbed in their excellencies, scruples not to say, "there is but one law for poetry,- the will of the poet." The above were great poets, both from nature and situation ‡. And I have introduced them to explain, amidst the other reasons which lead to the same point, why, probably, it is that we have so few excellent poets,I mean, in the higher essentials of poetry according to Aristotle's sense, in the avos adwy, the very flower of poetry, as Pindar speaks,—and it seems to be, partly, because few, comparatively, are in situations favourable to extraordinary energies, as the above poets were, and

*It is entitled Malati Madhava, Asiatic Researches, vol. x.

p. 454.

+ Such I mean as relate to human life and manners. Vide Aristolelis Poet. cap. 15.

What Sir W. says on this subject is highly worthy of consideration. Part iv cap. 12.

partly because poets are more regulated by feelings which belong to an age of taste, than such as are peculiar to an age of genius.

This reminds me of the distinction to be made between an age of genius and taste; and, with a full recollection of what has been said of the comparatively small number of poets truly excellent, to ask with due submission, whether the sublimest efforts of poetic talent are not to be looked for in the former period rather than in the latter. The ingenious Mr. Robert Southey* observes, that in all countries the age of genius has preceded that of taste, and he has assigned very satisfactory reasons why the poets of Spain and Portugal never attained to the era of taste, These are, the despotic nature of their government, the enervating shackles of their superstition, and the degra ding influence of false literature which had long infeșted Europe; and he observes, that as these circumstances influenced Lope de Vega, so did "the dangerous abilities of Lope de Vega assist the progress of the evil."

Mr. Southey is undoubtedly correct; for such evils act in various directions. They check genius, and unnerve integrity, the most powerful spring of human action: inquiry is, as it were, strangled in the birth: a bad taste becomes the public feeling: all motives to enthusiasm are destroyed: one bad imitator tracks the path of another :-and these are circumstances all ruinous to excellence.

* Letters written during a short Residence in Spain and Portu. gal, p. 124.

Yet under these circumstances Camoens and Lope de Vega reached their portion of excellence; and under more fostering causes, more invigorating motives, they wouldprobably have been more excellent poets. For the age of genius seems more susceptible of some great qualities than an age of taste. Genius is the towering eagle that soars high, sails on the whirlwind, and sees and feels vast things. Taste loves security, and is apt to fear encountering a storm. Strength yields to tameness,-grandeur to splendour,-the reality and sublimity of feeling to the more regular, the more monotonous tones of passion. While, therefore, ascribing to an age of taste the acquisition of many improvements, we must, at the same time, ascribe to it the loss of some excellencies. Despotic governments are certainly unfavourable to true excellence.

However men define taste, and wherever they fix the principles of judgement, some affections there are so natural to man, and of such pervading, powerful energies, as to command, wherever they predominate, all the powers of poetry and eloquence. They, as it were, open the very springs of language, and urge the stream forward with a strong, irresistible force: or, by some secret melting influence, they cause the sweetest undulations of melody, and produce all its refreshing, its most delightful salubrity, all its most romantic excursions, and enravishing charms.

These affections may be felt in the thunder of Demosthenes, the strength of Thucydides, the address of Pericles, the elegance of Lysias, no less than in the sweet