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 with a result that has not yet quite lost its flavour. The satire probably owed something to the parodies of The Anti-Jacobin, though in this case the matter and not the form is burlesqued. At the close of the century the long satiric poem in Hudibrastic verse or heroic couplet was already passing away in England, though American versifiers continued to imitate the outworn models. In the light of The Biglow papers all these early beginnings seem faint and pale; but they are still significant as indications of the growth of national consciousness. It should also be noted that in average merit our early verse satire is probably not inferior to its counterpart in England. There is little to be said for the genre on either side of the water. Volumes of miscellaneous short poems began to appear in 1765, but, owing to the Revolution and its attendant changes, ceased almost entirely between 1770 and 1790, and revived only during the last decade of the century. Though intrinsically of little merit, they show in the main that Pope and the long poem were not absolutely dominant and that Americans were reading English lyrical poetry and were learning to write graceful verse which certain of the public were ready to read. This public was small enough, however, for most of the volumes were published by subscription; and a remarkable number were issued by pious friends as memorials to young poets, and hence show little except that friendship may make unreasonable demands. The poems of Thomas Godfrey (1736-1763) of Philadelphia were published two years after his death by his friend and fellow poet Nathaniel Evans. His work is highly imitative; pastorals in heroic couplet, after Pope; an Ode to friendship and a Dithyrambic on wine in the manner of Dryden's occasional odes; a Night piece in elegiac quatrains, which shows the influence of Gray and Young; songs in the manner of Shenstone and Prior; and here and there a touch of Collins. His best as well as his most ambitious poem is The Court of fancy, an allegory in heroic couplets, suggested by Chaucer's House of fame. Though conventional in style, it is not without originality, and as the first truly imaginative poem written in America is of more than passing interest. Godfrey's imitative habit could not quite cloak his spontaneity, and had he come only a generation
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