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Hess of the Countess to possess it. And so far as to the furtherance of her schemes.only, this is true; for the effect it produces is directly contrary to what she wished. “But that magic art should deceive its votaties is very consonant to poetical justice; and it was only by the agency of the book that the catastrophe of the narrative, viz. the marriage of Cranstoun and Margaret is produced. For it was through the power of the book that the “young Heir of Branksome" was stolen, and that Cranstoun was enabled to personate Deloraine, conquer Musgrave, and redeem the boy; which was the only way of inducing the Countess to consent to the marriage.

And here it ought to be pointed out, with respect to the moral conduct of the piece, how ingeniously it is contrived that the violent passions of the Countess, which led her to have recourse to those dark arts, which must not even be named, and for which the monk was to do a treble penance for having only

thought them his heart within," had the unlookedfor effect of completely defeating her own purposes.

In this respect therefore here was dignus vindice nodus for the use of machinery; no common means, do human persuasions could have induced her to consent to resign her hatred to the family of Cranstoun. The end of the drama could not have been attained but by the aid of magic.

The conduct of the dwarf, which has also been obt jected to, is to be defended upon the same principle. The book without him would have been useless; and he, though far from intending it, was a principal agent in conducting the poem to its destined conclusion. VOL. IV.


The dark obscurity in which his story is involved, both when he was lost and found, is highly poetical, and affords a delightful scope for the imagination.

As a minor blemish it may be observed, that the character of Margaret is not sufficiently prominent to excite much interest. There is nothing to distinguisb it from any other; and therefore to most readers the recovery of the “young Heir” will seem an event of more consequence than her marriage.

It has also been mentioned as a fault, that there are no similies throughout the poem; but whether that can be so deemed, in a work which lays claim to no higher rank than that of a Minstrel's Song is, I think, at least doubtful. If the objection be well founded, it is one which only the judgment makes on reflection; and which the imagination, warmed with the beauty of the piece, and deeply engaged by the attention which it excites, can hardly stop to discover.

But there is another light in which this work has a claim to be considered, which is that of a narrative, meant to exemplify the curious system of Border manners. In this respect it is unrivalled: no history has yet appeared which gives so just an account, so interesting a picture of the lawless ravages of the Borders, which were equally a disgrace to both nations. With regard to these the romance has the singular advantage of being a true history as to the general facts, and the usual conduct of the Moss Troopers ; and the characters of the two English leaders, Howard * and


Of the singular character of Lord William Howard there are some curious traits recorded by Gilpin, is his Tour to the Lakes. There is a


Daore, are admirably discriminated, and evidently drawn from the most authentic sources of information,


On the proper objects of Biography.

It is a palpable, but a very common, error, that lives of activity and adventure only can afford proper materials for biography. “What interest,” it is asked, “ can the Memoirs of ** **** exhibit? That person passed through the world, in peace, leisure, and retirement, without encountering any extraordinary events!” “ Is it possible," I answer, “ that this remark can be

I made on a character of transcendent talent, erudition, and virtue; whose writings have illuminated more than half a century, and whose labours in the closet were calculated to produce effects a thousand times more extensive, than all the busy results of the most practical industry?"

Pictures of the mind, delineations of the movements of the heart, the records of the private and undisguised opinions of those, who have been distinguished for their intellectual endowments, are the ingredients which a cultivated reader most values in personal history. “ Hair-breadth escapes, and perilous accidents by sea and land," are calculated principally to interest


history of the Borders, by Ridpath, in 4to. and an account of the “ Ancient State of the Borders" in Burn and Nicolson's Hist. of Westmorland and Cumberland ; but a more completo account of them would be very acceptable to the lovers of history, and there are abundant materials for that purpose.

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a vulgar

a vulgar curiosity. The relation of the ramble of 2 man of genius in a field of daisies, or along banks scented with the early primrose, if it describes hie sensations, or any of the visions that floated across his fancy, is more affecting and more instructive, than the account of the most surprising actions, in which a man of a common understanding has been engaged.

If these observations are just, the memoir of one, whose life has been employed in exercising and improving the best faculties of the soul, is of all others, when properly executed, the most attractive, and the most important; even though it should have been spent in the most unvaried solitude, or the most cquable course of outward circumstances. We are anxious to know the confidential thoughts of those, on whom Nature has bestowed the power of deeper insight into human affairs, on those points of our existence which come most home to our bosoms, and on which every reflecting mind must occasionally ruminate. Sometimes perhaps we are pleased to find in them weaknesses congenial with our own; and we are consoled with this sympathy, which makes us appear less despicable to ourselves.

The great characteristic of persons of genius seems to be, not that they feel differently from others, but that they feel more acutely, and with more distinctness, and are capable therefore of clearly and forcibly delineating what they feel. Thus the sentiments contained in Gray's Elegy,“find,” as Johnson says, “an echo in every bosom;" they are instantly acknowledged to be such, as its readers have continually experienced; but which they could not before analyse, or perceive with sufficient vividness to be expressed by them. When the picture is thus brought before them, they are surprised that they never produced such an one themselves; and, while they admit its truth, think they hereafter could paint like it with the greatest facility. We hear much, among the critics, about Invention as the first characteristic of poetry: but is not this INVENTION?


Endued as they are with powers of this kind, we peruse with eagerness all the private letters, the careless sketches, and retired and unambitious memorials of those, who have been thus distinguished for mental superiority. We delight to see the fleeting visions of the head, or the heart, embodied in language; and fixed before us for leisurely contemplation. What avails the opportunity of having seen “many men and

. many cities," unless the traveller, like Ulysses, has the talent to make observations and profit by the experience! What signifies, to have beheld all the sublime scenery of Salvator Rosa, unless he, who has viewed it, has the pencil able to paint, or the pen to describe it! Bloomfield, in the early confinement to a poor village in the most flat and unpicturesque part of Suffolk, * could produce descriptions full of a combi. nation of images so brilliant, and so touching, as he, who has been all his life familiar with the richest scenes of Nature, can never, with inferior gifts, produce

! The mind is surely the scene of action, which we are most interested in studying. When we compare its capacities with those of material power; when we


by any effort!

Sec a most interesting volume of Scenery, illustrative of Bloomfield's Roomspublished by Mr. Brayley.

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