Pliny, in an epistle to Tuscus, advises him to intermix among his severer studies the softening charms of poetry; and notices a species of poetical composition which merits critical animadversion.  I shall quote Pliny in the language of his elegant translator.  He says, “These pieces commonly go under the title of poetical amusements; but these amusements have sometimes gained as much reputation to their authors as works of a more serious nature.  It is surprising how much the mind is entertained and enlivened by these little poetical compositions, as they turn upon subjects of gallantry, satire, tenderness, politeness, and everything, in short, that concerns life, and the affairs of the world.”

This species of poetry has been carried to its utmost perfection by the French.  It has been discriminated by them, from the mass of poetry, under the apt title of “Poesies legeres," and sometimes it has been significantly called “Vers de Societe.”  The French writers have formed a body of this fugitive poetry which no European nation can rival; and to which both the language and genius appear to be greatly favourable.

The “Poesies legeres” are not merely compositions of a light and gay turn, but are equally employed as a vehicle for tender and pathetic sentiment.  They are never long, for they are consecrated to the amusement of society.  The author appears to have composed them for his pleasure, not for his glory; and he charms his readers, because he seems careless of their approbation.

Every delicacy of sentiment must find its delicacy of expression, and every tenderness of thought must be softened by the tenderest tones.  Nothing trite or trivial must enfeeble and chill the imagination; nor must the ear be denied its gratification by a rough or careless verse.  In these works nothing is pardoned; a word may disturb, a line may destroy the charm.

The passions of the poet may form the subjects of his verse.  It is in these writings he delineates himself; he reflects his tastes, his desires, his humours, his amours, and even his defects.  In other poems the poet disappears under the feigned character he assumes; here alone he speaks, here he acts.  He makes a confidant of the reader, interests him in his hopes and his sorrows; we admire the poet, and conclude with esteeming the man.  The poem is the complaint of a lover, or a compliment to a patron, a vow of friendship, or a hymn of gratitude.

These poems have often, with great success, displayed pictures of manners; for here the poet colours the objects with all the hues of social life.  Reflection must not be amplified, for these are pieces devoted to the fancy; a scene may be painted throughout the poem; a sentiment must be conveyed in a verse.  In the “Grongar Hill” of Dyer we discover some strokes which may serve to exemplify this criticism.  The poet, contemplating the distant landscape, observes—­

  A step methinks may pass the stream,
  So little distant dangers seem;
  So we mistake the future’s face,
  Eyed through Hope’s deluding glass.