nets on sonnets crowd, and ode on ode; d Tales of Terror jostle on the road; measurable measures move along, simpering Folly loves a varied song, strange mysterious Dullness still the friend, mires the strain she cannot comprehend. us Lays of Minstrels *-may they be the last!— half-strung harps whine mournful to the blast, See the "Lay of the Last Minstrel," passim. Never was any pla congruous and absurd as the ground-work of this production. T nce of Thunder and Lightning prologuising to Bayes' Tragedy, u nately takes away the merit of originality from the dialogue b Messieurs the Spirits of Flood and Fell in the first canto. The ve the amiable William of Deloraine, a stark moss-trooper, cet, a happy compound of poacher, sheep-stealer, and highway The propriety of his magical lady's injunction not to read ca his candid acknowledgment of his independence pelling, although, to use his own elegant phrase, se at hairibee," i. e. the gallows. Gilpin Horner, and the marvellous pedestrian page, as fast as his master's horse, without the aid of seven hef d'œuvres in the improvement of taste. For incivisible, but by no means sparing, box on the ear beand the entrance of a Knight and Charger into the ry natural disguise of a wain of hay. Marmion, the mance, is exactly what William of Deloraine would een able to read and write. The Poem was manu's. CONSTABLE, MURRAY, and MILLER, worshipful sideration of the receipt of a sum of money, and the inspiration, it is a very creditable production. write for hire, let him do his best for his paymasters, genius, which is undoubtedly great, by a repetition ad imitations. spatch a courier to a wizard's grave, ■d fight with honest men to shield a knave. Next view in state, proud prancing on his roan, e golden-crested haughty Marmion, ow forging scrolls, now foremost in the fight, ot quite a Felon, yet but half a Knight, e gibbet or the field prepared to grace; mighty mixture of the great and base. 1 d think'st thou, SCOTT! by vain conceit perchanc public taste to foist thy stale romance, ough MURRAY with his MILLER may combine yield thy muse just half-a-crown per line? >! when the sons of song descend to trade, eir bays are sear, their former laurels fade. 11 meed, such still the just reward d Muse and hireling bard! purn Apollo's venal son, Em Tor g, "good night to Marmion*.” he themes, that claim our plaudits now; Bards to whom the Muse must bow: 180 ON, DRYDEN, POPE, alike forgot, hallow'd Bays to WALTER SCOTT. as been, when yet the Muse was young, R swept the lyre, and MARO sung, to Marmion”—the pathetic and also prophetic exclaBLOUNT, Esquire, on the death of honest Marmion. 1 res have mouldered from the face of earth, ues have expired with those who gave them birth, out the glory such a strain can give, en in ruin bids the language live. o with us, though minor Bards content, he great work a life of labour spent: eagle pinion soaring to the skies, d the Ballad-monger SOUTHEY rise ! 190 the Odyssey is so closely connected with the story of the Iliad, y almost be classed as one grand historical poem. In alluding ON and Tasso, we consider the "Paradise Lost," and "GierusaLiberata" as their standard efforts, since neither the "Jerusaquered" of the Italian, nor the "Paradise regained" of the Bard, obtained a proportionate celebrity to their former Query; Which of Mr. SOUTHEY's will survive? |