On the 10th of June, 1688, the prince was born, under circumstances which ought to have removed all suspicion of imposture. But these suspicions were too deeply rooted in party prejudices and fears; and it became a distinguishing mark of a true Protestant, to hold for spurious the birth of a prince, which took place in the presence of more people than is either consistent with custom or decency. In the mean while, public rejoicings, of the most splendid kind, were solemnized at home and abroad;[287] and the poets flocked with their addresses of congratulation[288] on the birth of a Prince of Wales, who was doomed shortly to be distinguished through the English dominions by the ignominious appellation of Pretender, and abroad, by the dubious title of Chevalier de St George. It was peculiarly the part of our author, as poet-laureat, and a good Catholic, to solemnize an event of so much importance to the king, and those of his religion, and to bear down, if possible, the popular prejudice by the exertion of his poetical powers. "Britannia Rediviva" was written, nine days after the event celebrated, and published accordingly. It is licensed on the 19th of June. In this poem, our author assumes the tone and feeling which we have described as general among the Catholics, upon this happy and unexpected event. It is less an address of congratulation than a solemn devotional hymn; and, even considered as such, abounds with expressions of awful gratitude, rather for a miraculous interposition of heaven and the blessed saints, than for a blessing conferred through the ordinary course of nature. Dryden, who knew how to assume every style that fitted the occasion, writes here in the character of a devout and grateful Catholic, with much of the _unction_ which marks the hymns of the Roman church. In English poetry, we have hardly another example of the peculiar tone which the invocation of saints, and an enthusiastic faith in the mystic doctrines of the Catholic faith, can give to poetry. To me, I confess, that communion seems to offer the same facilities to the poet, which it has been long famous for affording to the painter; and the "Britannia Rediviva," while it celebrates the mystic influence of the sacred festivals of the Paraclete and the Trinity, and introduces the warlike forms of St Michael and St George, has often reminded me of one of the ancient altar pieces, which it is impossible to regard without reverence, though presenting miracles which never happened, or saints who never existed. These subordinate divinities are something upon which the imagination, dazzled and overwhelmed by the contemplation of a single Omnipotent Being, can fairly rest and expand itself. They approach nearer to humanity and to comprehension; yet are sufficiently removed from both, to have the full effect of sublime obscurity. Dryden has undoubtedly reaped considerable advantage from religion in the present poem. It must,