waiters might laugh, the public will not. In like manner, in the controversy about Pope, he claps Mr. Bowles on the back with a coarse facetious familiarity, as if he were his chaplain whom he had invited to dine with him, or was about to present to a benefice. The reverend divine might submit to the obligation, but he has no occasion to subscribe to the jest. If it is a jest that Mr. Bowles should be a parson, and Lord Byron a peer, the world knew this before; there was no need to write a pamphlet to prove it.

flashy passages From the sub

The Don Juan indeed has great power; but its power is owing to the force of the serious writing, and to the oddity of the contrast between that and the with which it is interlarded. lime to the ridiculous there is but one step. You laugh and are surprised that any one should turn round and travestie himself: the drollery is in the utter discontinuity of ideas. and feelings. He makes virtue serve as a foil to vice; dandyism is (for want of any other) a variety of genius. A classical intoxication is followed by the splashing of soda-water,

by frothy effusions of ordinary bile. After the lightning and the hurricane, we are introduced to the interior of the cabin and the contents of wash-hand basins. The solemn hero of tragedy plays Scrub in the farce. This is 66 very tolerable and not to be endured." The Noble Lord is almost the only writer who has prostituted his talents in this way. He hallows in order to desecrate; takes a pleasure in defacing the images of beauty his hands. have wrought; and raises our hopes and our belief in goodness to Heaven only to dash them to the earth again, and break them in pieces the more effectually from the very height they have fallen. Our enthusiasm for genius or virtue is thus turned into a jest by the very person who has kindled it, and who thus fatally quenches the sparks of both. It is not that Lord Byron is sometimes serious and sometimes trifling, sometimes profligate, and sometimes moral-but when he is most serious and most moral, he is only preparing to mortify the unsuspecting reader by putting a pitiful hoax upon him. This is a most unaccountable anomaly. It is as if the eagle

were to build its eyry in a common sewer, or the owl were seen soaring to the mid-day sun. Such a sight might make one laugh, but one would not wish or expect it to occur more than once!*

In fact, Lord Byron is the spoiled child of fame as well as fortune. He has taken a surfeit of popularity, and is not contented to delight, unless he can shock the public. He would force them to admire in spite of decency and common sense-he would have them read what they would read in no one but himself, or he would not give a rush for their applause. He is to be "a chartered libertine," from whom insults are favours, whose contempt is to be a new incentive to admiration. His Lordship is hard to please: he is equally averse to notice or neglect, enraged at censure and scorning praise. He tries the patience of the town to the very utmost, and when they show signs of weariness or disgust, threatens to discard them. He

This censure applies to the first Cantos of DON JUAN much more than to the last. It has been called a TRISTRAM SHANDY in rhyme: it is rather a poem written about itself, ·

says he will write on, whether he is read or not. He would never write another page, if it were not to court popular applause, or to affect a superiority over it. In this respect also, Lord Byron presents a striking contrast to Sir Walter Scott. The latter takes what part of the public favour falls to his share, without grumbling (to be sure he has no reason to complain); the former is always quarrelling with the world about his modicum of applause, the spolia opima of vanity, and ungraciously throwing the offerings of incense heaped on his shrine back in the faces of hist admirers. Again, there is no taint in the writings of the Author of Waverley, all is fair and natural and above-board: he never outrages the public mind. He introduces no anomalous character: broaches no staggering opinion. If he goes back to old prejudices and superstitions as a relief to the modern reader, while Lord Byron floats on swelling paradoxes

"Like proud seas under him;"

if the one defers too much to the spirit of an

tiquity, the other panders to the spirit of the age, goes to the very edge of extreme and licentious speculation, and breaks his neck over it. Grossness and levity are the playthings of his pen. It is a ludicrous circumstance that he should have dedicated his Cain to the worthy Baronet! Did the latter ever acknowledge the obligation? We are not nice, not very nice; but we do not particularly approve those subjects that shine chiefly from their rottenness: nor do we wish to see the Muses drest out in the flounces of a false or questionable philosophy, like Portia and Nerissa in the garb of Doctors of Law. We like metaphysics as well as Lord Byron; but not to seethem making flowery speeches, nor dancing a measure in the fetters of verse. We have as good as hinted, that his Lordship's poetry consists mostly of a tissue of superb common-places; even his paradoxes are commonplace. They are familiar in the schools: they are only new and striking in his dramas and stanzas, by being out of place. In a word, we think that poetry moves best within the circle of nature and received opinion: specu