and gay. There is doubtless some advantage in the shortness of the lines, which there is little temptation to load with expletive epithets. The dialogue seems commonly better than the songs. The two comick characters of Sir Trusty and Grideline, though of no great value, are yet such as the poet intended. Sir Trusty's account of the death of Rosamond is, I think, too grossly absurd. The whole drama is airy and elegant; engaging in its process, and pleasing in its conclusion. If Addison had cultivated the lighter parts of poetry, he would probably have excelled.
The tragedy of Cato, which, contrary to the rule observed in selecting the works of other poets, has by the weight of its character forced its way into the late collection, is unquestionably the noblest production of Addison's genius. Of a work so much read, it is difficult to say any thing new. About things on which the the publick thinks long, it commonly attains to think right; and of Cato it has been not unjustly determined, that it is rather a poem in dialogue than a drama, rather a succession of just sentiments in
