There is, of course--the fact has been already admitted by glance--a division of the poetry of 1700-1800 to which, in a more or less grudging way, the poetical franchise is generally granted. Scraps of Lady Winchilsea and Parnell quite early; Dyer and Thomson at the beginning of the second quarter; Collins and Gray in the middle; Blake and Burns and Chatterton if not also Cowper and Crabbe, in the last division are admitted, if only to a sort of provincial or proselyte membership. Gray, indeed, has always been granted special grace, even, as some think, to an unfair comparative extent, and perhaps Mr. Swinburne's exuberant championship was never less wasted than in the cases of Collins and Blake. But Blake really does belong to no time at all except in a few fragments, and most of the others are too well known for further comment. Let us in the very limited space here available, before passing to other aspects of the subject, take two poems, one of the earlier, one of the later time, as examples of pure poetry charged with special eighteenth-century difference--for that is the point at issue. They shall be Dyer's _Grongar Hill_ and Mrs. Greville's _Prayer for Indifference_. The one is a picture of that external nature to which as a rule the century is supposed to have been blind, yet charged with an "inwardness" to which that century is equally supposed to have been callous. The other is a poem of mood, almost a pathological poem, possessing the same inwardness, but charged with a flutter of feeling, again supposed to be quite unknown to the age of prose and sense. Both are curious examples of what is called the conventional phraseology of the time, flushed and animated by something additional--a characteristic which also appears in Collins, but is more disputable in Gray, save perhaps in the remarkable "Vicissitude" ode. _Grongar Hill_ ought to be given whole, but it is not difficult of access; the "Hymn" is not so easy to get at, but it suffers less from "sampling."