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 student, a burlesque by “Jonathan Weatherwise” on the absurd weather signs of the country folk, or perhaps a timely article from a “neighbouring colony” does not suffice to impart a native flavour to the magazine as a whole. It is distinctly “imported.” The attempt was nevertheless creditable, and certainly kept readers in touch with the best English reviews. The magazine continued for three years. A dozen years later The New England magazine of know-ledge and Pleasure announced its motto, “Alluring profit with delight we blend,” but it confined itself to hackneyed essays on old models. In the same year, however, at Philadelphia, a magazine of decided originality and of genuine importance in colonial literature was coming out month by month with the first provost of the new college as its editor and guiding spirit. The Rev. William Smith, called to America from Aberdeen in 1752, brought a great love of letters to his new work and soon succeeded in imparting his own literary enthusiasms to a group of young students. It is largely due to his constant encouragement that a strain of lyric poetry at length sounded in clear, welcome notes, a strain all too short and slight, but of real beauty. These young poets belonged to the generation after that of Franklin's famous Junto, one of the college group being a son of Franklin's friend Thomas Godfrey, the mathematician. Thomas Godfrey, Jr., needed all the active help of the provost, since poetical gifts did not meet with favour in the Godfrey household. Francis Hopkinson, Joseph Shippen, and Nathaniel Evans were also introduced to the public by Smith. The interesting thing about William Smith's own literary enthusiasms is his love of eighteenth-century romanticism. In a thoroughly romantic temper he made himself a retreat by the falls of the Schuylkill, which he describes under the guise of Theodore, the Hermit, in his American magazine, noting “the singular gloom of its situation,” hidden by “a romantic tuft of trees,” and made more lonely by surrounding waters. He could soon announce in his magazine that he had almost too many poems to draw from. Practically all the verse in its thirteen numbers is original, although at times, especially in the long poems of James Sterling, the most conventional eighteenth-century manner is amusingly evident. The essays, with very few exceptions, were not only written in the colonies but were
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