music," he presented by the assembled guild of critics, not with the obsolete and too classic laurel, but with an electro-plated brass medal, bearing the due inscription, "Ars est nescire artem." And when, in twelve months' time, he finds himself forgotten, perhaps decried, for the sake of the next aspirant, let him reconsider himself, try whether, after all, the common sense of the many will not prove a juster and a firmer standing-ground than the sentimentality and bad taste of the few, and read Alexander Pope. In Pope's writings, whatsoever he may not find, he will find the very excellences after which our young poets strive in vain, produced by their seeming opposites, which are now despised and discarded; naturalness produced by studious art; sublimity by strict self- restraint; depth by clear simplicity; pathos by easy grace; and a morality infinitely more merciful, as well as more righteous, than the one now in vogue among the poetasters, by honest faith in God. If he be shocked by certain peculiarities of diction, and by the fondness for perpetual antitheses, let him remember, that what seems strange to our day was natural and habitual in Pope's; and that, in the eyes of our grandchildren, Keats's and Shelley's peculiarities will seem as monstrous as Pope's or Johnson's do in ours. But if, misled by the popular contempt for Pope, be should he inclined to answer this advice with a shrug and a smile, we entreat him and all young poets, to consider, line by line, word by word, sound by sound, only those once well-known lines, which many a brave and wise man of fifty years ago would have been unable to read without honourable tears: In the worst inn's worst room, with mat half-hung, The floor of plaster, and the walls of dung, On once a flock-bed, but repaired with straw, With tape-tied curtains never meant to draw, The George and Garter, dangling from that bed, Where tawdry yellow strove with dirty red, Great Villiers lies. Alas! how changed from him, That life of pleasure, and that soul of whim! Gallant and gay, in Cliveden's proud alcove, The bower of wanton Shrewsbury and love; Or just as gay, at Council, in a ring Of mimic statesmen, and their merry king, No wit to flatter, left of all his store! No fool to laugh at, which he valued more. There, victor of his health, of fortune, friends, And fame, this lord of useless thousands ends. Yes; Pope knew, as well as Wordsworth and our "Naturalisti," that no physical fact was so mean or coarse as to be below the dignity of poetry--when in its right place. He could draw a pathos and sublimity out of the dirty inn chamber, such as Wordsworth never elicited from tubs and daffodils--because he could use them according to the rules of art, which are the rules of sound reason and of true taste.