lowing very delicate effusion of his moral rits and defects of Sylvester's Du Bar The three next numbers are employed in the narration of a gothic tale, "Sir Edgar;" it displays a rich, luxuriant imagination, and a powerful command. of language. But surely the story would have had a much higher effect, had Dr. Drake thrown an air of antiquity over the style, as Mr. Southey has done in his translation of Amadis de Gaul? The decorations and refinements of modern composition are inappropriate to a tale of chivalry of the thirteenth century, as the light and elegant embellishments of modern architecture would be incongruously attached to a gothic edifice. Much of the gloom and solemnity of a cloister is produced by the "dim religi. ous light," let through the dense and opaque colouring of the painted windows antiquated phraseology is capable of producing an analogous effect in composition, and, in the present instance, it might certainly have been adopted with the best effect. The forty-eighth number contains some pleasing poetry communicated to the author; in the three following numbers we have some observations on the me tas. The public attention has been directed towards this neglected author by Mr. Dunster's "Considerations on Milton's early Reading, and the prima stamina of Paradise Lost." The perusal of Mr. Danster's elegant little work induced Dr. Drake to read Sylvester,: the same inducement kept up our flagging spirits through this tedious work. Mr. Dunster has omitted to notice many excellent passages, although the secondary object of his work was to select the beauties of an author who, as having conferred so many obligations on Milton, is doubtless entitled to a niche in the poet's corner. In order to make up the deficiency, Dr. Drake has offered a second collection, and he thinks that "without presumption it may now be affirmed, that every specimen worth pre serving has been selected from this rude and neglected garden, and that what remains may be considered as little else than weeds or noxious plants, without utility and without beauty." We cannot ac cord in this sentiment: it is a consider. able time since we read Sylvester's trans lation, and we cannot immediately point to several passages, unnoticed by either of these two critics, which we remember to have been struck with, as possessing more than ordinary merit. If it must be allowed that in the following simile there is a good deal of extravagance, it must on the other hand be allowed that there is much descriptive accuracy and poetic cadence; the motion and brilli ancy of the planetary system give rise to the following comparison: "Even as a peacock, prick'd with love's de sire, To woo his mistress, strutting stately by her, With rattling pinions wheeling still about, marks, Set with gilt spangles, sown with glist'ring sparks, Sprinkled with eyes, speckled with tapers Powder'd with stars streaming with glorious bright, light, T inflame the earth the more with lover's Besides being the translator of the Divine Weeks, Sylvester translated several other poems from Du Bartas, from which perhaps a few good passages might be selected: The Fathers," and Jonas," rival each other in dullness: the poem entitled "Urania" throws some light upon the early tastes and propensities of the author. The ode to Astrea contains many voluptuous lines. Sylvester also translated a poem, entitled, "The Prohit of Imprisonment: a Paradox, written in French by Odet de la Noue, Lord of Teligni, being prisoner in the castle of Tournay." The paradox is, that adversity is more necessary than prosperity; and that of all afflictions, close prison is most pleasant and most profitable. Sylvester also translated "TETPAETIKA, or the Quadrains of Guy de Four, Lord of Pibrac." Were none of these printed in Dr. Drake's edition? he might have taken some beautiful lines from Astrea. The last passage which Dr. Drake quotes from Sylvester is the description of a country life from the third day of the first week if it has escaped his recollection, he will thank us for referring him to a very beautiful poem on the same subject, quoted by Isaac Walton, from the Reliquiæ Wottonianæ, "quivering fears, heart-tearing cares," &c. The picture here is not drawn on quite so broad a canvas, but the images are selected and grouped with great felicity, and the colouring is extremely delicate; in our judgment it needs not shrink from Sylvester's, concerning which Dr. Drake speaks in terms of very high, if not extravagant encomium. But it is time to leave Du Bartas and his translator, and proceed with our author. No. LII. "Arthur and Edith, a legendary tale;” Dr. Drake has attempted, not unsuccessfully, an imitation of the style of our ancient ballads. The six, following numbers treat on the Scandinavian mythology, a system, not merely interesting from its connection with the ancient manners, and laws, and religion of our forefathers, but wor thy of attention, as capable of affording, from the wildness of its fictions, and the terrific sublimity of its superstitions, very high poetical embellishments. Dr. Drake laments that modern poetry has drawn so little from this ample storehouse of imagery. From Dryden to Gray rare are the features which bear any resemblance to the sublime paintings of Scaldic. fancy. "Two or three odes by Penrose, Sterling, and Bruce, the Arthur of Hole, and the Sketches of Sayers, a few imitations by Matthias, and the translations of Percy, Downham and Cottle, form, I believe, nearly a complete list of our attempts to introduce the Scandinavian mythology." “One principal reason why these efforts have failed, though under the conduct of great poetical powers, has been owing to the obscurity which time has thrown over the doctrines of the Edda. Hence the beautiful Sketches of Sayers, and many admirable descriptions in Arthur, are little relished or understood by the common reader. To render poetry of this description interesting, and to impart a taste for its imagery and allusions, it is necessary that the ficuons and manners on which it is constructed should be familiar. "As I am confident, however, that a knowledge of the religion and manners of the ancient inhabitants of Scandinavia is alone wanting to induce a taste for these ingenious writers, and that the chief reason why this has not hitherto been obtained, has been owing to the want of an easy and popular illustration, I have been tempted, in the view of doing justice to productions of much merit, and with the hope of contributing to a freer introduction into our poetry of the • It is quoted at page 298 of "The Complete Angler," in the edition of 1760. daring and enthusiastic features of northern superstition, to occupy a few hours in collecting its most striking and magnificent peculiarities." Dr. Drake declines the detail of every idle fiction, and confines himself to the selection of those terrible and sublime pictures in gothic mythology, which are best calculated to embellish our epic, dramatic, and lyric poetry: the sketch is drawn from the Edda of Sæmund, and Snorro, from the numerous songs of the Scalds dispersed through the ancient chronicles, and from modern versions and imitations. Dr. Drake first gives a rapid, but well-defined, outline of Scandinavian mythology; he then selects the most brilliant parts for illustration, and terminates the whole by considerations which recommend it as a machinery admirably adapted to the higher purposes of poetry. The following observations merit transcription: "Poetry generally arrogates to herself a style, very remote from common language, but in the earliest stages of society, where intellect is confined to sensible images, and the language is necessarily sterile, where no abstract terms or reflex ideas are admitted, the surrounding objects of nature are laid under heavy contribution, and furnish an abundance of daring metaphors, hyperboles, and allegories, which, to the correct and chastised taste of a more polished period, throw an air of obscurity and tumid grandeur over composition, and which a modern poet durst not have risqued. In imagery and diction, no poets have indulged a greater licence than the ancient Scalds of Scandinavia, for whether they drew from simple nature, or from the dark recesses of their own mythology, they were alike gigantic and extravagant, though frequently sublime. Indeed, so little have their religious fables been familiarized to us, that their poetry becomes enigmatical, chiefly from assuming the figurative style of the Edda, for when the pas sions are merely intended to be roused, the diction generally possesses a just simplicity, and the sublime and the pathetic are attained without labour and without obscurity. To do justice, therefore, to what they esteemed the most brilliant and striking passages of their poetry, namely, those founded on the mystic narratives of the Edda, the study of the phraseology of their religious code is absolutely required; and they themselves were so sensible of it, that one of their masterbards, Rogvald, earl of the Orkneys, published a Scaldic dictionary, under the title of the Poetical Key, which amply explained the fables and expressions, most commonly adopted or alluded to. Rogvaldus Orcadum comes," says Wormius, princeps egregius, inter alias nobiles dotes, quibus ornatus est, præstantissimus et promptissimus fuit rhyth mista, et clavem rhythmiticam, quæ ad hue extat, confecisse dicitur.* When the number of phrases, expres sive of the attributes of their different deities, made use of for the simplest terms, are conand the almost infinite variety of metaphors, sidered, the work of Rogvald must have been deemed highly useful to both the Scald and his reader. Thus, in this hyperbolical style, gold was called the tears of Frea; poetry, , the drink of Odin; the sea, the field of pirates; the tongue, the sword of words: a combat, the bath of blood, the hail of Odin, &c. &c. expressions which, without an interpretation, would appear to us greatly overstrained, and frequently unintelligible. These difficulties, however, once overcome, the poetry of the north will break forth in all its energy, sublimity and beauty. "To prompt the sympathetic tear, To bid the purple tyrant fear, And trance with joy the ravish'd mind."† Dr. Drake is decidedly of opinion that the outlines of chivalry and gallantry, as well as of romantic fiction, had their origin among the Goths of Scandinavia, and that those who date their foundation and diffusion from the Arabic conquest of Spain are completely mistaken. Rather than repeat our sentiments on this subject, we shall refer to the second volume of the Ann. Rev. p. 515 & seq. and p. 654 & seq. Number LIX. is a legendary tale, entitled "The Spectre:" there are some passages which seem to shew that Dr. Drake had Mallet's beautiful ballad in view," Margaret's Ghost," and we were once or twice reminded of Tickle's Lucy and Colin." The "Spectre" will not bear a moment's comparison with either of them: the language wants simplicity and conciseness; indeed we think diffuseness a prominent and pervading fault in Dr. Drake's style. The poem before us is too epithetical, and Edwin's account of his dream to Henry is not given in the language which terror would have inspired; the description, picturesque in itself, of Mary's habita tion, is here (as it appears to us) exceedingly inappropriate and intrusive. The concluding number is on the life, writings, and genius of Michael Bruce, and affords a very pleasing evidence, * Vide Ob. Worm. Lit. Runic, page 195. ↑ Edda of Sæmund, page 292. that where the feelings of Dr. Drake are really interested he expresses himself in plain, pathetic, and impressive language. We consider this paper as an elegant and affecting tribute to the me mory of poetic genius, of high moral and intellectual excellence. Having taken so extended a notice of the individual papers which compose this volume, it were superfluous to conclude our account of it with any general remarks. From what has already been said, it must be obvious that we think highly of Dr. Drake's talents and his taste; he has encouraged us to speak freely when we have not precisely accorded with him in opinion, by stating, that "to criticism, when candid," he is ever ready to listen without impatience. We trust that, on the present occasion, nothing has escaped us which can invalidate our claim to his suffer ance. ART. X. Odd Whims; and Miscellanies. By HUMPHREY REPTON, Esq. 2 vols. 12mo. pp. 334. THESE are the amusing trifles of a man who has seen a good deal of the world, whose profession has introduced him to the acquaintance of many high characters, and whose vanity leads him to boast of it; of a man whose accomplishments are various and elegant, who fiddles a little, and draws very prettily, who writes verses, such as they are, composes tales, and lays out landscapes. Mr. Rep. ton has the taste to prefer mirth to melancholy; he looks at every thing on its fairest side, keeps his mind cheerful and easy by never suffering it to be unoccupied by business or pleasure, and preserves a constant good humour with himself by the harmless inoffensive complacency with which he surveys the products of his own genius and taste. Is Mr. Repton angry that we smile at his vanity? we apologize by quoting two couplets from Swift, begging him to remember, that although "Tis an old maxim in the schools The first of these volumes, which now make their appearance so beautifully printed, and so amply decorated with illustrative vignettes from the pencil of Mr. Repton, contains a number of little essays, allegories, &c. which the author many years ago published anonymously in a collection called VARIETY. In the sketch which adorns the title-page, MoRALITY is discovered under the veil of Levity, which is in the hands of Painting and Whim: the character of the essays is fairly pourtrayed in this fanciful groupe: they are light and lively, written in an easy, playful manner, and generally enforce some moral sentiment or good feeling. Four-fifths of the second volume are occupied by a comedy called Odd Whims, or Two at a Time. The scenery, appearance, and dresses of the characters are brought in a lively manner before the reader's imagination by coloured sketches very characteristically drawn. In justice to Mr. Repton however, we must say that the assistance of the graver was but little wanted. The character of sir Geoffry Oddwhim is well imagined and kept up. Lord Blazon proudly examining the wide-spread branches of his old ge nealogical tree may be easily imagined; and Madame Crepon bustling about the shop for patterns of silk to please the taste of a Turk is brought to the imagi nation in a lively manner. Indeed we do not hesitate to give "Two at a Time" a decided preference over the mass of comedies which come before us. The plot is very well conceived, the difficul ties of the lovers overcome without any extraordinary violation of probability, and the intricacies of the piece unravelled with considerable dexterity. Mr. Repton has shewn his judgment in drawing such characters as came within the com pass of his powers; his heroes and heroines are not placed in situations to inspire any lofty sentiments, or call forth any splendid descriptions, they have only to sustain an easy dialogue on occurrences which require no poetical or elocutionary flourishes. Mr. Repton does not forget to inform his readers that this comedy was read in manuscript, “with pleasure by Mr. Burke, and commended by sir Joshua Reynolds." The "Poetic Miscellanies" which close these volumes are worthless: we cannot select one which would pay the trouble of transcription. ART. XI. Comic Sketches or the Comedian his own Manager. Written and selected for the Benifit of Performers, &c. By CHARLES LEE LEWIS, Comedian. LEE LEWIS was a comical fellow, in answer. We quote it as very highly but his powers must have been greater honourable to the feelings of the noble than we can imagine to have amused marquis. any audience who had not pre-determined to have a grin for their money at all events, by the recitation of such low-lived trash as this. These comic sketches were originally intended for the East Indies; the only anecdote worth relating is this: when Mr. Lewis, at his own responsibility, landed in the year 1788 at Calcutta, two days after his arrival he received a note from Mr. Hay, secretary to the governor general, marquis Cornwallis, requesting him to attend at the council house on the following morning. Mr. Lewis attend ed, and Mr. Hay, with unaffected concern, signified to Mr. L. that he could not receive permission to give any public performance in the settlement, and that he must return to Europe in the same ship he came out in. This was a very mortifying stroke: Mr. Lewis in a few days transmitted to the governor general a memorial, to which the following note was returned "Sir, Government House, Aug. 9, 1788. Lord Cornwallis has received your memorial; and in answer to it, his lordship has directed me to say, that it gives him great concern to disappoint your hopes of accomplishing the objects of your voyage to this country, but as you have come to Incha without leave from the court of directors, the duty of his station obliges him to forbid tion whatever in this settlement. His lordyour making any public professional exhibi ship has desired me to add, that he feels exceedingly for the distress which you must suffer, from the step which you have so imprudently taken, and he requests that you will accept of the enclosed draft upon his agent for one thousand rupees, to relieve, in some degree, the exigencies of your present situation. "I am, sir, Your most obedient and ART. XII. A World of Wit, containing characteristic Anecdotes and Bon Mots of eminent living Persons. By the Hon. M. S-R. 8vo. pp. 210. DULNESS and obscenity pervade these nauseating pages, which are altogether thoroughly contemptible. ART. XIII. A Tour through some of the Southern Counties of England. By PEE GRINE PROJECT and TIMOTHY TYPE. 12mo. pp. 240. THIS is a quiz upon those travellers who, with an ink-horn in their button hole, fancy that nothing is too insignificant to be recorded which they find in any county but their native one. The idea is not bad, and the first forty or fifty pages are amusing enough: but the spirit is not kept up, and altogether this is an infinitely duller and more unprofitable tour than any which the author might have in view as the subject of his ridicule. The rage of gallery hunting is very well quizzed. Project is disappointed at not seeing the pictures at lord Pal merston's, but his friend Type consoles him with an accurate description of the Dutch tiles which decorate the fireplace of the parlour at his inn. They are duly numbered and arranged. Among others we have Samuel hewing Agag in pieces with a huge scymetar; the ark, almost as big as the mountain, resting upon mount Ararat; the man with a great beam, like that of a house, in his eye, reproving the other with a mote in his. &c. &c. The book is better conceived than executed. |