illustration of the whole unutterably dreary mass of verse:
"Gospel and law in 's heart had each its column;
His head an index to the sacred volume;
His very name a title page and next
His life a commentary on the text.
Oh, what a monument of glorious worth,
When in a new edition he comes forth
Without erratas may we think he'll be,
In leaves and covers of eternity."
Better examples were before them, for books were imported freely, but minds had settled into the mould which they kept for more than one generation, unaffected in slightest measure by the steady progress of thought in the old home.
The younger writers were influenced to a certain degree by the new school, but lacked power to pass beyond it. Pope was now in full tide of success, and, with Thomson, Watts and Young, found hosts of sympathetic and admiring readers who would have turned in horror from the pages of Shakespeare or the early dramatists. The measure adopted by Pope charmed the popular mind, and while it helped to smooth the asperities of Puritan verse, became also the easy vehicle of the commonplace. There were hints here and there of something better to come, and in the many examples of verse remaining it is easy to discern a coming era of free thought and more musical expression. Peter Folger had sent out from the fogs of Nantucket a defiant and rollicking voice; John Rogers and Urian Oakes, both poets and both Harvard presidents, had done something better than mere rhyme, but it remained for another pastor, teacher and physi-
