have, consequently, been enabled to seduce many into an admiration of
the false taste (as it appears to us) in which most of their productions
are composed. They constitute, at present, the most formidable
conspiracy that has lately been formed against sound judgment in matters
poetical; and are entitled to a larger share of our censorial notice,
than could be spared for an individual delinquent. We shall hope for the
indulgence of our readers, therefore, in taking this opportunity to
inquire a little more particularly into their merits, and to make a few
remarks upon those peculiarities which seem to be regarded by their
admirers as the surest proofs of their excellence.

Their most distinguishing symbol, is undoubtedly an affectation of great
simplicity and familiarity of language. They disdain to make use of the
common poetical phraseology, or to ennoble their diction by a selection
of fine or dignified expressions. There would be too much _art_ in this,
for that great love of nature with which they are all of them inspired;
and their sentiments, they are determined shall be indebted, for their
effect, to nothing but their intrinsic tenderness or elevation. There is
something very noble and conscientious, we will confess, in this plan of
composition; but the misfortune is, that there are passages in all
poems, that can neither be pathetic nor sublime; and that, on these
occasions, a neglect of the embellishments of language is very apt to
produce absolute meanness and insipidity. The language of passion,
indeed, can scarcely be deficient in elevation; and when an author is
wanting in that particular, he may commonly be presumed to have failed
in the truth, as well as in the dignity of his expression. The case,
however, is extremely different with the subordinate parts of a
composition; with the narrative and description, that are necessary to
preserve its connection; and the explanation, that must frequently
prepare us for the great scenes and splendid passages. In these, all the