Goldsmith was in his poetry, as in his prose, simple, genuine, and natural. His "Deserted Village" and "Traveller" were in the metre of Pope, but they were full of the most exquisite touches of pathos, of truth, and liberty; they were new in spirit, though old in form. Charles Churchill, the satirist, was full of flagellant power. He has been said to have formed himself on Dryden; but it is more probable that his models were Lucian and Juvenal. He was a bold and merciless chastiser of the follies of the times. He commenced, in the "Rosciad," with the players, by which he stirred a nest of hornets. Undauntedly he pursued his course, attacking, in "The Ghost," the then all-powerful Dr. Johnson, who ruled like a despot over both literary men and their opinions. These satires, strong and somewhat coarse, were followed by "The Prophecy of Famine," an "Epistle to Hogarth," "The Conference," "The Duellist," "The Author," "Gotham," "The Candidate," "The Times," etc. In these Churchill not only lashed the corruptions of the age, but the false principles of nations. He condemned the seizure of other countries by so-called Christian powers, on the plea of discovery. It was only to be lamented that Churchill, who was a clergyman, in censuring his neighbour's vices did not abandon his own.
Amongst other authors of the time, then very popular, but now little read, were Armstrong, author of "The Art of Preserving Health;" Akenside, of "The Pleasures of Imagination;" Wilkie, of "The Epigoniad;" and Glover, of the epic of "Leonidas." Falconer's "Shipwreck" and Beattie's "Minstrel" are poems much more animate with the vitality of grace and feeling. Then there were Anstey, with his "Bath Guide," half descriptive and half satiric; Stephenson's "Crazy Tales;" Mason's "Isis," a satire on the University of Oxford, and his tragedies of "Elfrida" and "Caractacus," which, with other poems by the same author, enjoyed a popularity that waned before more truly living things. Then there were the brothers Joseph and Thomas Warton. Both of these deserve to be mentioned amongst our first-rate prose writers—Joseph for his excellent "Essay on the Genius and Writings of Pope," and Thomas for his "History of English Poetry," and this is merely a fragment, coming down only to the reign of Queen Elizabeth. But that which, at this period, produced a thorough reform of our poetry was the publication of "The Reliques of Ancient English Poetry," by Bishop Percy. These specimens of poetry went back beyond the introduction of the French model into England—to the times when Chaucer, and still earlier poets, wrote from the instincts of nature, and not from scholastical or fashionable patterns. In particular, the old ballads, such as "Chevy Chace," "The Babes in the Wood," and the like, brought back the public taste from the artificial to the natural. The simple voice of truth, pathos, and honest sentiment was at once felt by every heart, and the reign of mere ornate words was over. After the Reliques came "The Border Minstrelsy" of Scott and completed the revolution. These ancient ballads, in both Percy and Scott, were found, in many instances, to be founded on precisely the same facts as those of the Swedes and Danes, collected seventy years before, thus showing that they were originally brought into Great Britain by the Scandinavians—a proof of their high antiquity. A similar return to nature was going on in Germany and the North of Europe, showing that the very collection of Percy's "Reliques" originated in some general cause, and that cause, no doubt, was the universal weariness of the artificial style which had so long prevailed in literature.
About this time two publications occurred, which produced long and violent controversies—those of the pretended "Poems of Rowley," by Chatterton, and "Ossian's Poems," by Macpherson. Chatterton, who was the articled clerk of an attorney at Bristol, a mere youth, pretended that he had discovered Rowley's poems in the muniment room of the Church of St. Mary Redcliffe, Bristol. These poems, written on yellow parchment, and in a most antiquated style, by a boy of sixteen, were palmed upon the world as the genuine productions of one Thomas Rowley, and took in many well-known authors and literary antiquaries, very wise in their own conceit. As the productions of a boy of that age these poems are marvellous, and nothing besides which Chatterton, in his short, neglected life, produced approached them in merit. This, too, was the case with Macpherson, who professed to have collected the poems of Ossian, an old bard of Morven, in the Highlands, and simply translated them into English. He was warmly accused of having written them himself; but as Chatterton, so Macpherson, steadily denied the authorship of the poems thus introduced, and as in Chatterton's case, so in Macpherson's, no other compositions of the professed collector ever bore any relation to these in merit. There can now be very little doubt that Macpherson founded his Ossianic poems on real originals to some extent; but that Chatterton, if he received Rowley's poems from Rowley, did so by inspiration.
For some time after the revival of true poetry the old forms still hung about what in spirit was new. The last of the old school of any note may be said to have been Dr. Johnson and Dr. Darwin. Johnson was too thoroughly drilled into the dry, didactic fashion of the artificial past, he was too bigotedly self-willed to be capable of participating in the renovation. In fact, he never was more than a good versifier, one of that class who can win prizes for University themes on the true line and square system of metrical composition. His "London," a mere paraphrase of the third book of "Juvenal," and "The Vanity of Human Wishes" are precisely of that stamp. Johnson lived at the time of Chatterton's appearance, but he completely ignored him, and he ridiculed the simplicity of the poems introduced by Bishop Percy by absurd parodies on them, as—
I put my hat upon my head,
And walked into the Strand;
And there I met another man,
With his hat in his hand.
And,
If the man who turnips cries,