And when with curious search thine eyes explore
The waving forest, or the marshy shore;

When in strong gin thy skilful hands shall steep
Some unclass'd fowl, or monster of the deep;

Think on the raptures which we once have known,
And waft one sigh to Otaheite's throne.

feelings, which generally produce a copious effusion of tears upon every affecting occasion. See Dr. Hawkesworth passim.

THE END,

BY RICHARD TICKELL, Esq.

Author of the very celebrated Pamphlet called, "ANTICIPATION."

Printed originally in the year 1780.

ADVERTISEMENT.

THE following lines were occafioned by the Author's having lately studied, with infinite attention, several fashionable productions in the Sentimental stile; in most of which, a misapplication, not a defect, of talents seems to have betrayed their Authors into some degree of false Taste. For example. A Noble Author has lately published his works, which consist of three compositions: One, an Ode upon the death of Mr. Gray: the two others, upon the death of his Lordship's Spaniel.

But the reigning fashion in modern poesy is Sentimental Panegyric on Married Beauties. This appears in a thousand various shapes; from Bouts Rhimeès on the wou'd-be Sappho of Bath, up to Doggerel Epistles to the lovely Amoret.

In attempting to ridicule this modish folly, it is scarcely necessary to apologize to the several personages of the Sentimental train, for introducing their names. When a Poet announces himself, and publicly wears his laurels, he is lawful game for the Critics: and it makes no difference, whether his works come from the press, or, according to Sir Benjamin Backbite's system," circulate in manuscript." Besides, to canvas the slighter imperfections, either of stile or of conduct, seems to be the limit of poetical censure. It is only the desperate Satyrist, whose invenomed pen strikes at the character and honour of individuals, that per

verts and disgraces poetry: such aspersions, if well founded, are too gross for the tribunal of the Muses; and if (as is generally the case) they are utterly false, they recoil not only on the Author, but on the very art itself, which can so easily be perverted to so bad a purpose. But who can be hurt by a critique on his Charades and Rebusses? An imputation of false taste may not be very pleasant, but it never can seriously offend men of sense and good-breeding: both which qualities, as the Author agrees with all the world in acknowledging his personages to possess in the highest degree, so he requests that not only they, but the few others who may happen to read his Poem, will acquit him of any intention to give the slightest offence.