ture, boldness, and strength of their verse, they more nearly resemble each other, than any other two with which I am acquainted. No wonder therefore that their hymns sometimes should have been mistaken for each other. Thus, in this case we are happy to observe, that the genius of poetry has the advantage over the emissary of theological controversy, in more faithfully making known the genuine feeling of the heart. "Rock of ages, cleft for me," is a charming hymn; and the one entitled "The dying believer to his soul;" beginning, "Deathless principle within," is one of the most daring, and best sustained efforts in Christian poesy. It is rich in the triumphs of hope; which strengthens, and brightens, with change of scene, position, and attack. The clouds of fear arise in view, but to be instantly dissipated, by the increasing effulgence of heavenly light. And after accompanying the believer to the flood of death, we soon hear the shout of victory, as the death-tossed mariner lands on the "banks of deliverance."

Thomas Olivers, a Methodist preacher, wrote a few hymns of undoubted merit. "The God of Abraham praise," &c., and, "Lo! he comes with clouds descending," &c., are the most conspicuous. The Church of England Quarterly Review, for October, 1840, in an article on psalmody, quotes the last mentioned hymn, along with Charles Wesley's beginning, "Stand the omnipotent decree," &c., in order to show its superiority over its

associate; and says, that, "Charles Wesley has produced nothing of equal breath and sublimity." Without objecting to all the observations of the Reviewer, in the comparison of these two hymns, it seems rather unfortunate for his conclusion, that, according to his own account, Oliver's hymn should have been so generally understood to be the production of Wesley.

I have been requested to say, that the two hymns in the Wesleyan Supplement, beginning, “My heart and voice I raise," &c., were written by Benjamin Rhodes, also a minister in the Wesleyan Connexion; nor is it unworthy the society to which it has lately been promoted.

CHAPTER II.

Notices of Cowper, Newton, Merrick, Horn, Logan, Steel, Barbauld, Heber, Watts, and Wesley.

THE name of Cowper commands a cheerful respect from every one at all conversant with his writings. His poetry has done more to dignify the art, and to extend its capabilities, to further the noblest objects, to aid the tender charities of life, and to render attractive religious principles and practice, than any poetry in ancient or modern times. The reader who is first made acquainted with his larger poems, will no doubt turn to his hymns with excited expectations. That such expectations will be met is matter of doubt. The reader, after wandering with this delightful companion through his Task, and surveying the changing seasons and scenes in nature, and human society, through the magic of his verse, and marking his minute delineation of the human character-its capabilities, and varied associations; and feeling the throb of his sympathizing heart, at misery which he could not alleviate; the Christian, we say, who has luxuriated in such rich, varied, and extended gratifications, will most likely be disappointed in

the enjoyment afforded by his hymns. Losing sight of the merit of his poems in their general character, the sketches which he often throws off as episodes, ebullitions of deep feeling, and the coruscations of genius, that combine to people many passages with life and beauty,-are more exquisite and captivating, than many of his stated devotional pieces. Certainly his hymns are too tame. In comparison with his larger efforts, they appear wanting in vigour, originality, and distinctive character; and the inimitable fashioning of a master hand.

Why it is so, is a question of somewhat difficult solution. For almost every view of the constitution of Cowper's poetical genius, and Christian temperament, would favour a different conclusion. Hence, admitting the theory, that there is a complexion of mind suited to every necessary mental effort, a question arises, whether he was so well fitted to write hymns, as is generally supposed. After all, the often canvassed opinion of Dr. Johnson, is deserving of more respect than many critics will allow it, with some modification, that hymnology is not a subject on which the powers and charms of poetry can be most fitly displayed.

It is not to be inferred from these remarks, that his hymns are to be slighted. The point of attention, is, not that they lose by a comparison with many others; but that they fail when placed by the side of his other poetical works. Indeed it

must be admitted, that many of them manifest but little superiority over competitors springing from the common multitude, with which they are often associated.

The mental affliction under which this estimable man laboured for a number of years, often beclouded his religious views, and tinged with melancholy his susceptive heart. Some of Cowper's friendly annotators, have raised an apology from hence, for any defects observable in his hymns. But arguments drawn from that quarter are doubtful, if not fallacious. For in his other poetry, though despondency might envelope him like a dark cloud, and his hopes be buried in the dust, yet, his refulgent genius ascended, and with it his theme; his Address to his Mother's Picture may be cited as proof.

Cowper has many hymns on which we might expatiate with great pleasure:

"O! for a closer walk with God,

A pure and holy flame;

A light that shines upon the road

That leads me to the Lamb," &c.

strikes a tender, yet an arousing strain, that finds an echo in every Christian breast. His well known hymn, "God moves in a mysterious way," &c., presents a masterly defence of Divine providence, in an elevated tone of poetry, with great beauty, and force of illustration. It is true, the introduction of the flower in the fifth verse, as a

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