which cannot be detained by suspense, must be excited by diversity, such as his poem offers to its reader.
But the desire of diversity may be too much indulged; the parts of "Windsor Forest" which deserve least praise, are those which were added to enliven the stillness of the scene, the appearance of Father Thames, and the transformation of Lodona. Addison had in his "Campaign" derided the rivers that "rise from their oozy beds" to tell stories of heroes; and it is therefore strange that Pope should adopt a fiction not only unnatural but lately censured. The story of Lodoma is told with sweetness; but a new metamorphosis is a ready and puerile expedient; nothing is easier than to tell how a flower was once a blooming virgin, or a rock an obdurate tyrant.
The "Temple of Fame" has, as Steele warmly declared, "a thousand beauties." Every part is splendid; there is great luxuriance of ornaments; the original vision of Chaucer was never denied to be much improved; the allegory is very skilfully continued, the imagery is properly selected, and learnedly displayed; yet, with all this com-
