Lord Byron has evidently very closely copied this sublime passage in an early part of Mazeppa's career, 66 Writhing half my form about, Howl'd back my curse; but 'midst the tread, The thunder of my courser's speed, Perchance they did not hear nor heed:"

It may be questioned, however, if this, fine as it is, does not want the concise energy of the original.

The dangers which Gilpin and Mazeppa encounter, arise not only from land but water. Thus quoth the Pole: "Methought the dash of waves was nigh, The wild horse swims the wilder stream.' In like manner, we are told by Cowper,

Thus all through merry Islington,
These gambols did he play,
Until he came unto the wash

Of Edmonton so gay.

And there he threw the wash about
On both sides of the way,
Just like unto a trundling mop,
Or a wild goose at play."

These images are homely, but they are not, on that account, the less expressive. That of the trundling mop," simply expresses the appearance of the "wash," thrown off on both sides of the way by the poney en passant; that of the wild goose at play, makes a direct appeal to the imaginative faculty, and suggests to our minds at least, a much more poetical feeling of a good gallopper, than his Lordship's images of the crying baby, or the scolding mistress. It gives one a momentary flash of the higher and hidden powers of that roadster, and convinces us that his owner would not part with him for a very considerable sum of money. This is one of those sudden and unexpected touches so characteristic of Cowper, and that prove what great things he might have accomplished, had he turned his genius more systematically to the culti vation of the higher provinces of poetry.

After swimming the river, Mazeppa's horse is not in the least degree tired, but "With glossy skin, and dripping mane,

And reeling limbs and reeking flank, The wild steed's sinewy nerves still strain Up the repelling bank."

Here Lord Byron strictly follows the original.

"But yet his horse was not a whit Inclined to tarry there, &c."

and what is still more strikingly similar, the two horses have the very same motive for their conduct.

"For why? his owner had a house Full ten miles off at Ware."

Mazeppa's horse had hitherto been accustomed to lead a free and easy life, rather more than ten miles off in the Ukraine and thither accordingly he set off at score, making play all the way, pretty much after the fashion of a steeple-hunt. It may perhaps be worth while to quote, for a particular reason, the following verse: "So like an arrow swift he flew, Shot by an archer strong;

So did he fly, which brings me to
The middle of my song."

Now, it is very remarkable-and we think the coincidence cannot be accidental-that the corresponding passage in Mazeppa also occurs just about the middle of the poem, which satisfactorily shews, that the original structures of the two great works do in their dimensions exactly coincide.

The termination of Gilpin's excursion therefore, evidently suggested that of Mazeppa's. But Byron has contrived to give quite a new turn to his poem-so that in the final catastrophe he almost seems to lose sight of the original. At Ware Gilpin's horse stands stock still at the door of his master's house, which, by the by, proves that he had not that unchancy trick of bolting into the stable, " sans ceremonie," which has incommoded many a sober-headed gentleman. Mazeppa's horse, in like manner, falls down the instant he reaches home, so we observe that the transition from

motion to repose is in both cases equally abrupt.Mazeppa's sufferings are now at an end-and being put instantly into a good warm bed, he soon comes to himself-marries-and in

good time becomes the father of many children, and Hetman of the Cossacks. Gilpin, on the other hand, has scarcely had leisure to put on a new hat and wig, than off he sets again without ever drawing his bit-but it is unnecessary to follow him farther with

any
minuteness. Conclude we cannot
without recalling to the memory of our
readers one stanza which ever awakens
in our minds a profound sense of the
depth of Mrs Gilpin's conjugal affec-
tion, and of the illimitable range of the
imagination when flying on the wings.
of terrified love.

"Now Mrs Gilpin, when she saw
Her husband posting down
Into the country far away,
She pull'd out half a crown."

That one line," into the country far away," gives to us a vaster idea of distance of time and space-than the whole 1000 lines of Mazeppa. The reader at once feels how little chance there is of the post-boy overtaking Gilpin-and owns that the worthy man ought to be left entirely to himself and his wild destinies.

We need pursue the parallel no farther. But we may remark, that though we have now proved John Gilpin to have been the prototype of Mazeppa, yet the noble author has likewise had in

his recollection the punishment which used sometimes to be inflicted on criminals in Russia. They were bound on the back of an elk, and sent into Siberia or elsewhere. We refer our readers to the Sporting Magazine, where they will find a very affecting picture of a gentleman on his elk. It was always the practice to shave the criminal before he mounted, and in the picture we speak of, he has a beard of about six inches long, which informs us that he had been on his travels probably several weeks. Ut pictura poesis.

THE early history of Pugilism in this country is involved in much darkness. Few, if any, of our learned antiquaries, as is well remarked by the ingenious author of this work, have possessed a taste for the Fancy, and they have felt themselves more interested in speculating on old monuments or ancient coins, than investigating the arcana of the ring. Our author, beginning as far back as it is easy to go, observes, that "whether our first parent, Adam, had any pretensions to this art, is also involved in too great obscurity, at this remote period, for us to penetrate into with any probability of success." It would therefore, he says, "be sheer gammon" to attempt proving, who were the antediluvian professors of the art. And on that account he very judiciously begins with Fig, who flourished during the reign of George the Second, and who may be seen in Hogarth's picture of Southwark Fair, challenging any of the crowd to enter the lists with him, either for love, or money, or a belly-full." It is here said of Fig, that "he was more indebted to strength and courage for his success in the battles he had gained, than from the effects of genius; he was extremely illiterate, and it might be said, that he boxed his way through life. If Fig's method of fighting was subject to the criticism of the present day, he would be denominated more of a slaughterer than that of a neat finished pugilist." It appears to us, that here Fig is rather too sparingly

VOL. V.

praised. Fig was a man of geniusfor he was at once illustrious as a fencer, a cudgeller, and a pugilistan union of powers which we verily believe never did nor will exist, without something beyond mere talent, and that something can be nothing but genius, and genius too of the very highest kind. It is to the establishment of Fig's amphitheatre that we are to attribute the successful cultivation of the art of defence in all its branches in England. Then, especially, was the sunrise of cudgelling and pugilism.

It is delightful to read the slightest character of a great man by one of his contemporaries. In Captain Godfrey's "Treatise upon the Useful Science of Defence," published in 1747, we find a sketch of Fig. Captain Godfrey was the Captain Barclay of that reign, and was therefore as well entitled to write of Fig as Xenophon of Socrates. "I have purchased," quoth he, " my knowledge with many a broken head and bruise in every part of me. I chose to go mostly to Fig and exercise with him, partly as I knew him to be the ablest master, and partly as he was of a rugged temper, and would spare no man, high or low, who took up a stick against him. I bore his rough treatment with determined patience, and followed him so long, that Fig at last finding he could not have the beating of me at so cheap a rate as usual, did not shew such fondness for my company. This is well known by gentlemen of distinguished rank, who

3 K

used to be pleased in setting us together."

This, we think, is very prettily said, but what follows is equal to any thing in Hume. 66 Fig was the atlas of the sword, and may he remain the gladiating statue. In him strength, resolution, and unparalleled judgment, conspired to form a matchless master. There was a majesty shone in his countenance, and blazed in all his actions, beyond all I ever saw. His right leg bold and firm, and his left, which could hardly ever be disturbed, gave him the surprising advantage already proved, and struck his adversary with despair and panic. He had a peculiar way of stepping in a parry. He knew his arm, and its just time of moving put a firm faith in that, and never let his adversary escape his parry. He was just as much a greater master than any other I ever saw, as he was a greater judge of time and measure." wonderful man was a native of Oxfordshire, but it does not appear that he enjoyed a university education. Perhaps this is not to be regretted for, if he had, he might have remained fellow of a college all his days, or gone to a living, in either of which cases the natural bent of his genius would have been restrained. Death, we are told, "gave him his knock-down blow in 1740-but of this, his last and only unsuccessful combat, we are not indulged with any detailed account. It is generally understood, however, that Fig stood manfully up to his antago nist-that his friends long entertained hopes that it would have been a drawnbattle-and that many good judges were of opinion that the blow which settled him was foul.

This

The most important battle fought during the reign of George II. or, in other words, of Fig, was that between Bob Whitaker and the Venetian Gondolier, commonly called the jawbreaker. The naval glory of Venice had, it is true, long been on the wane, but though the city of the sea had fallen from that proud pre-eminence, she yet hoped to brighten the tarnished lustre of her name, by the prowess of her jaw-breaker. This great national quarrel is thus described :

"The stage was ordered to be cleared, when an awful silence prevailed in the anxiety manifested for the set-to. The Venetian mounted with smiles of confidence, and was greeted welcome by loud plaudits from his countrymen and partizans, and in

stantly began to strip his giant like arm, claimed universal astonishment, and his size in general, struck terror; and even Captain Godfrey observes, "that his heart yearned for his countrymen." Bob appeared cool and steady, in a few seconds afterwards, and was cheered with huzzas. He eyed the Gondolier with firmness, and, quite undis mayed, threw off his clothes in an instant, when the attack commenced. The Venetian pitched himself forward with his right leg, and his arm full extended, and before Whittaker was aware of his design, he received a blow on the side of the head, so powerful which was remarkable for its height. Whitin its effect, as to capsize him over the stage, aker's fall was desperate indeed, as he dashed completely against the ground; which circumstance would not have taken place but for the grandeur of the audience, whose prices for admission were so high on that day, as to exclude the common people, who generally sat on the ground, and formed a line round the stage. It was then all clear, bottom. The bets ran high, and the fo and Bob had nothing to stop him but the of the Venetian, and flattered themselves reigners vociferated loudly indeed, in behalf that Whitaker would scarcely be able to come again, from the desperate blow and fall that he had received, and sported their cash freely in laying the odds thick against him: but Bob was not to be told out so soon, and jumped upon the stage like a game cock to renew the attack. Sparring now was all at one end, and Whitaker found out that something must be done to render the Venetian's long arm useless, or he must lose the fight; so, without further ceremony, he made a little stoop, ran boldly in beyond the heavy mallet, and with one English peg' in the stomach, (quite a new breech. The tables were then turned, the thing to foreigners) brought him on his sporting men laughing heartily, and the foreigners a little chop-fallen. The Venetian shewed symptoms of uneasiness was quite sick-and his wind being touched, he was scarcely to his time. Bob now punished him in fine style, drove the Venetian all over the stage, and soon gave him a leveller. The odds shifted fast in favour of Whitaker, and the foreigners displayed some terrible puzzled, and in the course of a few rounds, long faces! The Gondolier was completely the conceit was so taken out of him, that he lost all guard of his person, and was com pelled to give in, to the no small chagrin of the foreigners, who were properly cleaned out upon this occasion; but the Venetian had the mortification to retire in disgrace, after his vain boasting, and with a good milling; or, as Captain Godfrey concludes,

the blow in the stomach carried too much of the English rudeness for him to bear, and finding himself so unmannerly used, he scorned to have any more doings with his slovenly fist.' "

BOB WHITAKER was afterwards vanquished by NED PEARTREE. Ned

was famous for fighting at the face, and putting in his blows with great strength, yet felt doubtful in being able to beat WHITAKER by force, as the latter had proved himself, on many occasion, a most enormous glutton, and, therefore, cunningly determined to fight at his eyes. In six minutes, WHITAKER was shut out from day-light. In this distressed situation he became an object of pity; "when poking about a while for his man, and finding him not, he wisely gave in with these odd words, 'Damme, I am not beat, but what signifies, when I cannot see my man.'"

Our limits will permit us merely to mention the names of some of the greatest ornaments of this era of English pugilism. Toм PIPES was the champion of England for several years and though a man but of moderate strength, was distinguished for a peculiar swing of his arm," which dashed the maturest counsels of his adversaries. He fought at the face. GRETTING was a man of great strength," and had the nearest way of going to the stomach (which then was denominated the mark) than any of his day. But he drank to excess, which at last rendered him a mere play-thing among the fighting-men; and a very slovenly boxer, called Hammersmith Jack, beat him with ease, as did every other person that fought with him afterwards." BosWELL was "noted for putting in a blow with the left hand, which has been represented something like the kick of a horse." But he was deficient in courage. Captain Godfrey exclaims, "Praise be to his power of fighting, his excellent choice of time and measure, his superior judgment, despatching forth his executing arm. But fy upon his dastard heart, that mars it all. As I knew that fellow's abilities, and his worm-dread soul, I never saw him beat but I wished him to be beaten. Though I am charmed with the idea of his power and manner of fighting, I am sick at the thoughts of his nurse-wanting courage. TOM SMALLWOOD was so distinguished a trump, that the Cap"if I were to chuse a boxer for my money, and could but purchase him strength equal to his resolution, SMALLWOOD should be the BILL WILLIS, the fighting

tain says,

man.

"His

quaker, stood high on the list. appearance was remarkably plain and formal, and the heroes of the fist were his voluntary god-fathers, and thus it appears he was christened THE FIGHTING QUAKER." Whether BILL WILLIS ever belonged to that respectable set we have not been able to ascertain, but we learn that he possessed one of its requisites, plenty of stiffening. In setting to he pourtrayed that he was not unlike the faithful, by the spirit with which he attacked SMALLWOOD; but in the course of a short time the spirit no longer moved him, and the stiffening was taken out of his carcase, and he was obliged to sing up," Verily, I am well contented." JACK JAMES was considered "a most charming boxer. A swing of the arm peculiar to himself, and remarkably delicate in his blows-in fighting, his wrists appeared delightful to the lookers on, but terrible to his antagonist." BUCHHORSE is represented as a "most impetuous character, and his principal features were love and boxing." perhaps the greatest pugilist of this age (next to Broughton, of whom anon) was GEORGE TAYLOR, known by the name of George the Baker. He excelled all men in the cross-buttock-fall-and succeeded Fig in his amphitheatre. The tragi-comic dramas acted there took prodigiously— and it was no uncommon thing for the receipts of the house at that time to produce him one hundred to one hundred and fifty pounds. The playbills of this era were often couched in the form of challenges.

But

"Daily Advertiser, April 26, 1742. "AT the great booth, Tottenham-Court, on Wednesday next, the 28th instant, will be a trial of manhood, between the two following champions:

"Whereas I, William Willis, com

monly known by the name of the fighting Quaker, have fought Mr Smallwood about

twelve months since, and held him the tightest to it, and bruised and battered him more

than any one he ever encountered, though I had the ill fortune to be beat by an accidental fall ;-the said Smallwood, flushed with the success blind Fortune then gave him, and the weak attempts of a few vain Irishmen and boys, that have of late fought him for a minute or two, makes him think himself unconquerable: to convince him of the falsity of which, I invite him to fight me for One Hundred Pounds, at the time and place above-mentioned, when I doubt not but I shall prove the truth of what I have assert

ed, by pegs, darts, hard blows, falls, and cross-buttocks. "WILLIAM WILLIS.'

"I, Thomas Smallwood, known for my intrepid manhood and bravery, on and off the stage, accept the challenge of this puffing Quaker, and will shew him that he is led by a false spirit; which means him no other good than that he should be chastised for offering to take upon him the arm of flesh.

"THOMAS SMALLWOOD.' "Note. The doors will be opened at ten, and the combatants mount at twelve.

"There will be several by-battles, as usual, and particularly one between John Divine and John Tipping, for five pounds

each."

66

May 24th, 1742, at George Taylor's booth, Tottenham-court-road.-There will be a trial of manhood here to-morrow, between the following champions, viz.—

"Whereas I, John Francis, commonly known by the name of the Jumping Soldier, who have always had the reputation of a good fellow, and have fought several bruis

ers in the street, &c.; nor am I ashamed to mount the stage when my manhood is called in question by an Irish braggadocia, whom I fought some time ago, in a by-battle, for twelve minutes; and though I had not the success due to my courage and ability in the art of boxing, I now invite him to fight me for Two Guineas, at the time and place above-mentioned; where, I doubt not, I shall give him the truth of a good beating.

"JOHN FRANCIS."

"I, Patrick Henley, known to every one for the truth of a good fellow, who never refused any one, on or off the stage, and fight as often for the diversion of gentlemen as money, do accept the challenge of this Jumping Jack; and shall, if he don't take care, give him one of my bothering blows, which will convince him of his ignorance in the art of boxing.

"PATRICK HENLEY."" Here our author enters into a sort of episode, which is, however, intimately connected with the action of his work.

"Let us," quoth he, "now examine the most hurtful blows." He then conti

nues with commendable seriousness:

“The blow under the ear is considered as dangerous as any that is given, if it light between the angle of the lower jaw and the neck, because in this part there are two kinds of blood-vessels, considerably large: the one brings the blood immediately from the heart to the head, while the other carries it immediately back. If a man receive a blow on these vessels, the blood proceeding from the heart to the head is partly forced back, whilst the other part is pushed forwards vehemently to the head. The same happens in the blood returning from the head to the heart, for part of it is precipitately forced into the latter, whilst the other tumultuously rushes to the head, whereby

the blood-vessels are immediately overcharged, and the sinuses of the brain is overloaded and compressed, that the man at once loses all sensation, and the blood often runs from his ears, mouth, and nose.” The above scientific description would do credit to Ashley Cooper, or Liston; nor is the following one whit inferior.

"The blow between the eye-brows contributes greatly to the victory; for this part being contused between two hard bodies, viz. the fist and os frontale, there ensues a violent echymosis, or extravasation of blood, which falls imme

diately into the eye-lids, and they being of a lax texture, incapable of resisting this influx of blood, swell almost instantaneously, which violent intumescence soon obstructs the sight. The man thus indecently treated, and artfully hoodwinked, is beat about at his adversary's discretion."

We wish this gentleman would deliver a course of lectures in the Hall of the Dilettanti Society of Edinburgh, on pugilistic anatomy. We have no doubt that they would be numerously attended, from the Peer to the W. S. We recommend another passage to the serious study of our subscribers.

"The blows on the stomach are very hurtful, as the diaphragm and lungs share in the injury. The injury the diaphragm is subject to from blows which light just under the breast-bone, is very consider able, because the diaphragm is brought duces great pain, and lessens the cavity into a strong convulsive state, which proin the thorax, whereby the lungs are, in a great measure, deprived of their liberty; and the quantity of air retained in them from the contraction of the thorax, through the convulsive state of the diaphragm, is so forcibly pushed from them, that it causes great difficulty of respiration, which cannot be overcome till the con

vulsive motion of the diaphragm ceases.

such interesting matter, but to use an We could dwell with pleasure on expression peculiar to all writers, our limits forbid. Neither have we room for any criticism on the literary merits of this work. Our readers will understand what our opinion of it is, when we say that it may be classed with Campbell's Specimens of English Poetry. There is the same "springy force" in all our author says, and as in reading what Mr Campbell writes on poetry, we feel that he is himself a poet, so in the perusal of Boxiana we trace the hand of a pugilist. This is as it should be-and ought to be a lesson to Mr Jeffrey and others not to