<P> In the year 1726 two poems were published describing landscape from a personal point of view and taking their feeling and moral lessons from direct observation . One was John Dyer's "Grongar Hill", the other was James Thomson's "Winter", soon to be followed by all the seasons (1726--30). Both are unlike Pope's notion of the Golden Age pastoral as exemplified in his "Windsor Forest". Mythology is at a minimum and there is no celebration of Britain or the crown . Where the octosyllabic couplets of Dyer's poem celebrate the natural beauty of a mountain view and are quietly meditative, the declamatory blank verse of Thomson's winter meditation is melancholy and soon to establish that emotion as proper for poetic expression . One notable successor in that line was Edward Yonge's Night Thoughts (1742--1744). It was, even more than "Winter", a poem of deep solitude, melancholy and despair . In these poems, there are the stirrings of the lyric as the Romantics would see it: the celebration of the private individual's idiosyncratic, yet paradigmatic, responses to the visions of the world . </P> <P> These hints at the solitary poet were carried into a new realm with Thomas Gray, whose Elegy Written in a Country Church - Yard (1750) set off a new craze for poetry of melancholy reflection . It was written in the "country," and not in or as opposed to London, and the poem sets up the solitary observer in a privileged position . It is only by being solitary that the poet can speak of a truth that is wholly individually realized . After Gray, a group often referred to as the Churchyard Poets began imitating his pose and almost as often his style . Alternative models were adopted by Oliver Goldsmith (The Deserted Village), Thomas Warton, and even Thomas Percy (The Hermit of Warkworth), who, also conservative by and large and Classicist (Gray himself was a professor of Greek), took up the new poetry of solitude and loss . </P> <P> When the Romantics emerged at the end of the 18th century, they were not assuming a radically new invention of the subjective self themselves, but merely formalizing what had gone before . Similarly, the later 18th century saw a ballad revival, with Thomas Percy's Reliques of Ancient English Poetry . The relics were not always very ancient, as many of the ballads dated from only the 17th century (e.g. the Bagford Ballads or The Dragon of Wantley in the Percy Folio), and so what began as an antiquarian movement soon became a folk movement . When this folk - inspired impulse combined with the solitary and individualistic impulse of the Churchyard Poets, Romanticism was nearly inevitable . </P> <P> The Augustan era is difficult to define chronologically in prose and poetry, but it is very easy to date its end in drama . The Augustan era's drama ended definitively in 1737, with the Licensing Act . Prior to 1737, however, the English stage was changing rapidly from the Restoration comedy and Restoration drama, and their noble subjects, to the quickly developing melodrama (Munns 97--100). </P>

Which of these is not associated with the augustan age of literature