I am not aware of any writer of Sonnets worth mentioning here till long after Milton, that is, till the time of Warton and the revival of a taste for Italian and for our own early literature. During the rage for French models, the Sonnet had not been much studied. It is a mode of composition that depends entirely on _expression_; and this the French and artificial style gladly dispenses with, as it lays no particular stress on any thing—except vague, general common-places. Warton’s Sonnets are undoubtedly exquisite, both in style and matter: they are poetical and philosophical effusions of very delightful sentiment; but the thoughts, though fine and deeply felt, are not, like Milton’s subjects, identified completely with the writer, and so far want a more individual interest. Mr. Wordsworth’s are also finely conceived and high-sounding Sonnets. They mouth it well, and are said to be sacred to Liberty. Brutus’s exclamation, ‘Oh Virtue, I thought thee a substance, but I find thee a shadow,’ was not considered as a compliment, but as a bitter sarcasm. The beauty of Milton’s Sonnets is their sincerity, the spirit of poetical patriotism which they breathe. Either Milton’s or the living bard’s are defective in this respect. There is no Sonnet of Milton’s on the Restoration of Charles II. There is no Sonnet of Mr. Wordsworth’s, corresponding to that of ‘the poet blind and bold,’ _On the late Massacre in Piedmont_. It would be no niggard praise to Mr. Wordsworth to grant that he was either half the man or half the poet that Milton was. He has not his high and various imagination, nor his deep and fixed principle. Milton did not worship the rising sun, nor turn his back on a losing and fallen cause. ‘Such recantation had no charms for him!’ Mr. Southey has thought proper to put the author of Paradise Lost into his late Heaven, on the understood condition that he is ‘no longer to kings and to hierarchs hostile.’ In his life-time, he gave no sign of such an alteration; and it is rather presumptuous in the poet-laureate to pursue the deceased antagonist of Salmasius into the other world to compliment him with his own infirmity of purpose. It is a wonder he did not add in a note that Milton called him aside to whisper in his ear that he preferred the new English hexameters to his own blank verse!