In powers of expression he was not equally well apanaged: and it was unlucky for him that he fell in with the special period of popularity of that difficult and dangerous thing the Pindaric, and had enough of the older taste in him to attempt the short metaphysical lyric: 'The Resolve', 'The Fatigue', 'The Indifferent'. For the first he carried guns hardly heavy enough; for the second his lyrical craft was hardly sufficiently swift and handy to catch every puff of spiritual wind. Yet it is mildly astonishing to find how often he comes near to success, and how near that approach sometimes is. How many poets have tried to put the thought of the first line of the first poem in the complete edition: No more!--Alas! that bitter word, _No more!_ and how many have put it more simply and passionately? The 'Morning Hymn' and 'Evening Anthem' have rather strangely missed (owing no doubt to that superficial connexion with Bishop Ken's which is noticed below) association with hundreds and thousands of very often inferior divine poems that have found home in collections. 'The Resolve' begins quite admirably, and only wanted a little more pains on the poet's part to go on as well. 'Love's Bravo' and 'The Expectation' and 'Fading Beauty' and 'The Slight' are very far indeed from being contemptible. The two _gaillardises_, the 'Bachelor' and the 'Cats', want very little to make them quite capital; and 'The Whim' is in the same case. 'The Advice' actually deserves that adjective, and not a few others will be found pointed out in the notes; while even his Pindarics (at least the earlier ones, for those written after Rochester's death more fully justify his censure than those he can have read) have fine lines and even fine passages. It is no doubt rather unfortunate that Flatman should have left us so many Horatian translations. For the one thing needful--except in a very few pieces where Horace outgoes himself in massive splendour, and so can be outgone further by more of this, as in Dryden's magnificent version of _Tyrrhena regum_--the one thing needful in translating Horace is something of his well-known and 'curious' urbane elegance. And this was the very quality which perhaps no Restoration poet--certainly not Flatman--could give. The 'dash of vulgarity'[9] which Mr. Bullen has too truly stigmatized affects nearly all of them except when transported by passion (which is nowhere in Horace); or fighting hard in a mood of satiric controversy which is quite different from his pococurantism; or using a massive rhetoric which is equally absent from him. The consequence is that what Flatman gives us is not Horace at all; and is not good Flatman. The 'Canidia' pieces, as one would expect, are about the best, and they are not very good.