How different from the easy, graceful melody of Cowper’s blank verse! Indeed, it is hardly possible to criticise Young without being reminded at every step of the contrast presented to him by Cowper. And this contrast urges itself upon us the more from the fact that there is, to a certain extent, a parallelism between the “Night Thoughts” and the “Task.” In both poems the author achieves his greatest in virtue of the new freedom conferred by blank verse; both poems are professionally didactic, and mingle much satire with their graver meditations; both poems are the productions of men whose estimate of this life was formed by the light of a belief in immortality, and who were intensely attached to Christianity. On some grounds we might have anticipated a more morbid view of things from Cowper than from Young. Cowper’s religion was dogmatically the more gloomy, for he was a Calvinist; while Young was a “low” Arminian, believing that Christ died for all, and that the only obstacle to any man’s salvation lay in his will, which he could change if he chose. There was real and deep sadness involved in Cowper’s personal lot; while Young, apart from his ambitious and greedy discontent, seems to have had no great sorrow. Yet, see how a lovely, sympathetic nature manifests itself in spite of creed and circumstance! Where is the poem that surpasses the “Task” in the genuine love it breathes, at once toward inanimate and animate existence—in truthfulness of perception and sincerity of presentation—in the calm gladness that springs from a delight in objects for their own sake, without self-reference—in divine sympathy with the lowliest pleasures, with the most short-lived capacity for pain? Here is no railing at the earth’s “melancholy map,” but the happiest lingering over her simplest scenes with all the fond minuteness of attention that belongs to love; no pompous rhetoric about the inferiority of the “brutes,” but a warm plea on their behalf against man’s inconsiderateness and cruelty, and a sense of enlarged happiness from their companionship in enjoyment; no vague rant about human misery and human virtue, but that close and vivid presentation of particular sorrows and privations, of particular deeds and misdeeds, which is the direct road to the emotions. How Cowper’s exquisite mind falls with the mild warmth of morning sunlight on the commonest objects, at once disclosing every detail, and investing every detail with beauty! No object is too small to prompt his song—not the sooty film on the bars, or the spoutless teapot holding a bit of mignonette that serves to cheer the dingy town-lodging with a “hint that Nature lives;” and yet his song is never trivial, for he is alive to small objects, not because his mind is narrow, but because his glance is clear and his heart is large. Instead of trying to edify us by supercilious allusions to the “brutes” and the “stalls,” he interests us