We have to deal with him, however, principally as a poet; and there can, we think, now be but one opinion as to his peculiar merits. He possessed, beyond all doubt, a strong understanding, a lively imagination, a keen perception of character--especially in its defects and weaknesses--considerable wit without any humour, fierce passions and hatreds, and a boundless command of a loose, careless, but bold and energetic diction; add to this, a constant tone of self-assertion, and rugged independence. He was emphatically a John Bull, sublimated. He rushed into the poetic arena more like a pugilist than a poet, laying about him on all sides, giving and taking strong blows, and approving himself, in the phrase of "the fancy," game to the backbone. His faults, besides those incident to most satirists,--such as undue severity, intrusion into private life, anger darkening into malignity, and spleen fermenting into venom,--were carelessness of style, inequality, and want of condensation. Compared to the satires of Pope, Churchill's are far less polished, and less pointed. Pope stabs with a silver bodkin--Churchill hews down his opponent with a broadsword. Pope whispers a word in his enemy's ear which withers the heart within him, and he sinks lifeless to the ground; Churchill pours out a torrent of blasting invective which at once kills and buries his foe. Dryden was his favourite model; and although he has written no such condensed masterpieces of satire as the characters of Shaftesbury and Buckingham, yet his works as a whole are not much inferior, and justify the idea that had his life been spared, he might have risen to the level of "Glorious John." His versification, too, is decidedly of the Drydenic type. It is a free, fierce, rushing, sometimes staggering, race across meadow, moor, and mountain, dreading nothing except repose and languor, the lines chasing, and sometimes tumbling over each other in their haste, like impatient hounds at a fox-hunt. But more than Dryden, we think, has Churchill displayed the genuine poetic faculty, as well as often a loftier tone of moral indignation. This latter feeling is the inspiration of "The Candidate," and of "The Times," which, although coarse in subject, and coarse in style, burns with a fire of righteous indignation, reminding you of Juvenal. The finest display of his imaginative power is in "Gotham," which is throughout a glorious rhapsody, resembling some of the best prose effusions of Christopher North, and abounding in such lines as these:-- "The cedar, whose top mates the highest cloud, Whilst his old father Lebanon grows proud Of such a child, and _his vast body laid Out many a mile, enjoys the filial shade_."