works may be distinctly considered as comprising Tales, Love Verses,
Occasional Poems, "Alma," and "Solomon."

His tales have obtained general approbation, being written with
great familiarity and great sprightliness; the language is easy, but
seldom gross, and the numbers smooth, without appearance of care.
Of these tales there are only four: "The Ladle," which is
introduced by a preface, neither necessary nor pleasing, neither
grave nor merry. "Paulo Purganti," which has likewise a preface,
but of more value than the tale. "Hans Carvel," not over-decent;
and "Protogenes and Apelles," an old story mingled, by an
affectation not disagreeable, with modern images. "The Young
Gentleman in Love" has hardly a just claim to the title of a tale.
I know not whether he be the original author of any tale which he
has given us. The adventure of Hans Carvel has passed through many
successions of merry wits, for it is to be found in Ariosto's
"Satires," and is perhaps yet older. But the merit of such stories
is the art of telling them.

In his amorous effusions he is less happy; for they are not dictated
by nature or by passion, and have neither gallantry nor tenderness.
They have the coldness of Cowley, without his wit, the dull
exercises of a skilful versifier, resolved at all adventures to
write something about Chloe, and trying to be amorous by dint of
study. His fictions, therefore, are mythological. Venus, after the
example of the Greek epigram, asks when she was seen NAKED AND
BATHING. Then Cupid is MISTAKEN; then Cupid is DISARMED; then he
loses his darts to Ganymede; then Jupiter sends him a summons by
Mercury. Then Chloe goes a-hunting with an IVORY QUIVER GRACEFUL AT
HER SIDE; Diana mistakes her for one of her nymphs, and Cupid laughs