inherited by Waller.

The next poem, of which the subject seems to fix the time, is supposed by Mr. Fenton to be the "Address to the Queen," which he considers as congratulating her arrival, in Waller's twentieth year. He is apparently mistaken; for the mention of the nation's obligations to her frequent pregnancy proves that it was written when she had brought many children. We have therefore no date of any other poetical production before that which the murder of the Duke of Buckingham occasioned; the steadiness with which the king received the news in the chapel deserved indeed to be rescued from oblivion.

Neither of these pieces that seem to carry their own dates could have been the sudden effusion of fancy. In the verses on the prince's escape, the prediction of his marriage with the Princess of France must have been written after the event; in the other, the promises of the king's kindness to the descendants of Buckingham, which could not be properly praised till it had appeared by its effects, show that time was taken for revision and improvement. It is not known that they were published till they appeared long afterwards with other poems.

Waller was not one of those idolaters of praise who cultivate their minds at the expense of their fortunes. Rich as he was by inheritance, he took care early to grow richer, by marrying Mrs. Banks, a great heiress in the city, whom the interest of the court was employed to obtain for Mr. Crofts. Having brought him a son, who died young, and a daughter, who was afterwards married to Mr. Dormer, of Oxfordshire, she died in childbed, and left him a widower of about five-and-twenty, gay and wealthy, to please himself with another marriage.

Being too young to resist beauty, and probably too vain to think himself resistible, he fixed his heart, perhaps half-fondly and half-ambitiously, upon the Lady Dorothea Sidney, eldest daughter of the Earl of Leicester, whom he courted by all the poetry in which Sacharissa is celebrated; the name is derived from the Latin appellation of "sugar," and implies, if it means anything, a spiritless mildness, and dull good-nature, such as excites rather tenderness and esteem, and such as, though always treated with kindness, is never honoured or admired.

Yet he describes Sacharissa as a sublime predominating beauty, of lofty charms, and imperious influence, on whom he looks with amazement rather than fondness, whose chains he wishes, though in vain, to break, and whose presence is "wine" that "inflames to madness."

His acquaintance with this high-born dame gave wit no opportunity of boasting its influence; she was not to be subdued by the powers of verse, but rejected his addresses, it is said, with disdain, and drove him away to solace his disappointment with Amoret or Phillis. She married in 1639 the Earl of Sunderland, who died at Newbury in the king's cause; and, in her old age, meeting somewhere with Waller, asked him, when he would again write such verses upon her; "When you are as young, Madam," said he, "and as handsome as you were then."

In this part of his life it was that he was known to Clarendon, among the rest of the men who were eminent in that age for genius and literature; but known so little to his advantage, that they who read his character will not much condemn Sacharissa, that she did not descend from her rank to his embraces, nor think every excellence comprised in wit.

The lady was, indeed, inexorable; but his uncommon comprised in wit, qualifications, though they had no power upon her, recommended him to the scholars and statesmen; and undoubtedly many beauties of that time, however they might receive his love, were proud of his praises. Who they were, whom he dignifies with poetical names, cannot now be known. Amoret, according to Mr. Fenton, was the Lady Sophia Murray. Perhaps by traditions preserved in families more may