And sometimes bent, when won with earnest prayer,
To make the gentle Kneller all their care:
But ne'er with smiles to gaudy Verrio turn'd;
No happy incense on his altars burn'd.

O witness, Windsor, thy too passive walls,
Thy tortur'd ceilings, thy insuited halls!.
Lo! England's glory, Edward's conquering son,
Cover'd with spoils from Poictiers bravely won;
Yet no white plumes, no arms of sable hue,
Mark the young hero to our ravish'd view;
In buskin trim, and laurell'd helmet bright,
A well-dress'd Roman meets our puzzled sight.
And Gallia's captive king, how strange his doom,
A Roman, too, perceives himself become!'

The character of Denner's portraits is happily given :-
Nor in proportion, nor expression nice,
The strong resemblance is itself a vicc.

As wax-work figures always shock the sight,
Too near to human flesh and shape, affright,

And when they best are form'd afford the least delight.'

There are a few smaller pieces, which require no particular notice. The book is very handsomely printed by Bulmer; and an engraved title-page is prefixed: in which, however, the motto to his Lordship's arms, Volo, non Valeo, might furnish an unlucky hint to a stony-hearted critic. We have too tender feelings for the laudable desire of fame, to make the application.

Fer. Art. 21. Selim and Zaida. With other Poems. 12mo. 5s. 6d. Boards. Printed at Edinburgh, and sold in London by Longman and Rees.

We are sorry to observe of this author, that his prose is better
than his poetry; a remark which applies to too many modern versi-
fers. He has constructed an imposing approach to his poetical
garden, but has not given his inclosure proportional embellish-
ments. The poem is introduced by a dialogue in Vindication of the
use of Eastern imagery, opposed to the late prevailing Gothic taste.
Some of the remarks thus introduced are judicious; and we have
only to wish that the author had carried his idea of poetical reform a
little farther, and had discriminated, in his own composition, be-
tween the interesting and the obscure, between simplicity and feeble-
ness. There are, however, many passages in this work which will
be read with pleasure; and among these are the following verses:
'Tis joy, from soul-distracting dreams,
Where Fancy nameless horrors pours,
To wake, and view the morning-beams,
And know that life and hope are ours.
'Tis joy to see our soul's Delight,

Whom sickness long had press'd, resume
Her beaming smiles, her footsteps light,

And her soft cheek's carnation'd bloom.

• Know'st

"

Had the rest of the poem been laboured with equal care and success, we should have dwelt on the consideration of it with more complacency.

In the smaller pieces, we find little to commend: the measure of some of them is unhappily chosen, particularly that of the Morlachian Funeral Song; and there is a great want of melody in such lines as these;

Short time claps'd;-scarce seven days were over,
Short time indeed,-ere many lordly Suitors
Our Lady, beauteous in her widow'd sorrows,
Our noble Lady, sought to win in wedlock.

And one, the greatest, was IMOSKI'S CADI;
And the fair Lady, weeping, pray'd her Brother,
"Ah! by the joys that to your soul are dearest,
Bestow me not in marriage on another;

Lest I, beholding my forsaken Children,

Poor little ones! should break my heart with anguish."

The Bey refus'd regard to her entreaties,

Fix'd to Imoski's Cadi to betroth her.

Then she besought him-" Send a leaf of paper,

Inscrib'd with these words, to Imoski's Cadí:

"Thee the young Widow greets, and thus she prays thee:
When thou, attended by the SUATI, comest,
Do thou a long veil bring, that I may hide me,
Passing by Asan's house, nor see my Orphans.'

Experiments of this kind have not succeeded in our language. For writers who wish to try new measures in verse, the best source of variety will be found in Quarles's Emblems: but the lines quoted above have no poetical character whatsoever.

Art. 22. The Thirteenth Satire of Juvenal: intended for a Specimen of a Translation of his Satires. 8vo. 15. Cadell jun. and

Davies. 1802.

This gentleman has taken for his motto the concluding line of Ovid's Epitaph on Phaeton,

Quem si non tenuit, magnis tamen excidit ausis:

but translations, as they are commonly undertaken, cannot be reckoned among bold darings and great attempts; nor is there any thing in the present specimen to justify the author in occupying such high ground. A translation, or rather imitation, of the Satires of

I

Juvenal,

Fer.

Juvenal, executed with spirit and taste, would be an accptable present to the public: but a tame and dilated version, unaccompanied by notes and illustrations, (which the text of Juvenal very much requires,) will given either fame to the author nor pleasure to the reader. We cannot bestow much commendation on the poetic version before us. The author stumbles at the very threshold. Juvenal's words, se judice nemo nocens absolvitur, are rendered, none stands quitted at the bar within; and, a few lines afterward, we have,

which

• Because a friend refuses to confess

Thy trusted pledge;'

passage could not be understood without a comparison with the original; confessing a pledge' does not denote reddere deposi Between these two defects, stands one tolerable line;

tum.

flagrantior aquo

Non debet dolor esse viri,

is well expressed by

A man with dignity his lot bemoans."

In another place, Juvenal expresses by one line that which his translator, for the sake of a rhyme, draws out into two; or rather, like the parallelisms in the Hebrew Scriptures, the second line is little more than an echo of the first. The bard asks Calvinus,

An nihil in melius tot rerum proficis usu?

of which the translator gives the full sense by this line,

"Are these the lessons thou in life hast read?'

but, as unfortunately another line was wanted to rhyme to this, ten more syllables are given, without addition to the thought;

For rare the good who boast that curious style,
Not more in number than the months of Nile.'

Though Juvenal says Rari quippe boni, he does not assert that the
title of good is a curious style. The thought and the expression both
belong to the translator.

From the few specimens here selected from the first fifty lines, not to mention many others which might be adduced with equal facility, the reader will be able to judge how far the author ought to be encouraged to persevere. In our court, we can pronounce no decision that would be flattering.

Art. 23.

Moy

Pleasures of Solitude, Second Edition. With other Poems. By P. Courtier. Small 8vo. 8s. Boards. Rivingtons. 1802. We gave an account of the former edition of these poems in the 20th volume of our New Series, p. 180. In the present impression, the ingenious young writer proves that he has not been inattentive to the duties of correction; and several new pieces are added to the smaller poems.

Mr.

Mr. Courtier has convinced us that he is an improving writer; and we are glad to see that he has been encouraged by so many subscribers.

Art. 24. Saint Anne's Hill. A Poem. Dedicated to the Right
Hon. Charles James Fox. 4to. 53. Debrett.

Statesmen in power generally find poets to cover them with incessant praise: but dismissed and retired patriots have rarely been able to draw the votaries of the Muses into their train. History indeed does them justice; and to this tribunal they must with satisfaction appeal, happy if for the present they secure the love and esteem of a few. The great and amiable qualities of Mr. Fox have gained him a number of steady and admiring friends; among whom a poet here begs leave to be classed, who represents himself as called by his Muse to sing the natal day' of the hospitable Master' of St. Anne's Hill. With some diffidence he enters on the task; and though he may not have offered any very elegant compliment at the Patriot's shrine, he has not unsuccessfully delineated him in his retirement:

་

6

Sated with fame, weary'd with feuds of State,
The harass'd mind longs to enjoy repose,

And like, in ev'ry age, the truly Great,
To muse o'er life, and dignify its close.
Thoughtful on Liberty's declining star,.
Thus Tully mus'd in Tusculum's retreats,
Exchang'd the Roman senate and the bar
For calm Philosophy's Elysian seats.

And thus, O Fox! in Wisdom's golden hour,

She led THEE from the statesman's ceaseless strife

To mild Philosophy's sequester'd bow'r,

To rural studies, and to tranquil life.

What classic scenes arise on every side,

The sage's and the poet's mind to fill!-
And yet no bard the tribute hath supply'd,

That Truth demands for sainted Anna's Hill.'

The title contains a pleasing vignette, exhibiting a view of Mr.
Fox's elegant villa on St. Anne's Hill, near Chertsey, Surrey.

Art. 25. Lyrical Ballads, with other Poems. By W. Wordsworth.
Vol. II. Small 8vo. 5s. Boards. Longman and Co.
In our xxixth Vol. N. S. we gave an account of the first part of
these Lyrical Ballads; which appeared without the Poet's name.
As we then paid a particular attention to the style and manner of
the unknown writer, we think it unnecessary to enlarge with critical
discrimination on the character and merits of the poems now before
us. Suffice it, therefore, to observe that we deem the present publi
cation not inferior to its precursor; and to express our hope that
this will not prove the last time of our meeting this natural, easy,
sentimental Bard, in his pensive rambles through the wilds and
groves of his truly poetic, though somewhat peculiar, imagination.
REV. JUNE, 1802.

Р

Art.

Art. 26. The Myrtle and Vine ; or, Complete Vocal Library. Contain ing a judicious Collection of the most popular and captivating Songs on every Subject that can charm the Ear, or enliven the Heart. Selected from the harmonic Treasures of the Sister Muses of the Three Kingdoms; interspersed with many Originals and Tranilations. With an Essay on Singing and Song-writing. To which are added, Biographical Anecdotes of the most celebrated SongWriters. By C. H. Wilson, Esq. 8vo. 4 Vols. 16s. Boards. : West and Co.

We have here a collection of every thing, or nearly every thing, which the Muses of English Song, Ballad, Catch, or Glee, have produced since the days of Tom Durfy and Allan Ramsay; which may contribute to the amusement of the frequenters of our play. houses, public gardens, polite assemblies, convivial clubs, &c. &c. In such a groupe as we see assembled in this compilement, there must, in course, be exhibited many queer, as well as some elegant, figures; much dulness; more frivolity; and it were hard, indeed, if there were not some genuine wit :-or, to borrow a more common allusion, may we not compare this production to an extensive garden, in which we are at one time charmed with the roses and lilies of poetry, while at another docks and thistles obtrude their uninviting forms on our notice?

Prefixed to Mr. Wilson's vocal Collection, we have a prefatory sketch, by Mr. G. S. Carey, of the Poet, the Player, the Musician, and the Singer; particularly those Singers whose portraits embellish these volumes.' These sketches and criticisms evince the taste and skill of the writer; who certainly, to use a hackneyed phrase, is at home,' when discussing these topics; and we must acknowlege that we have been agreeably amused by the variety of his remarks; as will, doubtless, be many readers of these volumes by the engraved portraits (though very indifferently executed) of the most celebrated performers, which are designed as embellishments of the publication; viz. Banister, Vernon, Mrs. Baddely, Incledon, Mrs. Jordan, Fawcett, Miss De Camp, Dignum, Johnstone, Mrs. Mountain, Munden, Mrs. Martyr, Mrs. Atkins, Signor Benelli, and Mr. Pierce.-The Billington does not appear on this oc

casion.

To the critical sketches comprehended in the above list of names, is added a chapter of Remarks on the Science of Singing.

A few, but very few, of the favorite old songs, English and Scotch, have strayed into this motley assemblage of younger lyrics. Among these we observe the once very popular Vicar of Bray; also the jolly song of the Tippling Philosopher: but we looked in vain for the delightful "Sweet are the charms of her I love!" which, in days of yore, was wont to charm us, when we were more susceptible of the soft impressions, which still survive in our memories.

*This seems to be a mistake: we find no such anecdotes in the work. Song-Singers, we suppose, are meant.

&

EDUCATION.