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of the bliss of heaven; but when the bard passes on to portray the effect of the scene on those who were consciously awaiting the punishment due to their transgressions, he has furnished us with a picture of nearly perfect beauty and originality. It is one which, whilst it impresses the mind with a deep sense of the misery of those who have mis-spent their period of probation, is yet tempered with so many strokes of tenderness and feeling, with so many exquisite touches of description, as to render it, although a very melancholy, yet a very interesting and pathetic representation.-[The specimen follows.]

It is shortly after these impressive lines, that the clouds are. represented as breaking away from the summit of the mount, and the Son of God appears as rising to judgment. The opening of the passage, and the simile by which it is illustrated, justly challenge our admiration, and may be said to indicate, with a full assurance, the hand of no inferior master. Nor, indeed, is the immediately following pronunciation of the final award, or the subsequent ascension of the throne of the Saviour, in any degree wanting either in majesty or sublimity.

As when from some proud capital that crowns
Imperial Ganges, the reviving breeze

Sweeps the dank mist.'-[See the Poem.]

Nature is then represented as giving notice through all her realms, of approaching dissolution; indications which are succeeded by others tenfold more appalling, as they are felt to be the precursors of the agents of everlasting punishment. With this passage, which is wrought up with much energy and force, the subject and the poem conclude.-[It follows.]

That "The Judgment" of Mr. Hillhouse, is a poem, which, independent of the youth of its author, or any other circumstances of an extrinsic nature, reflects honour on Limself and on his country; will not, I think, from the specimens before us, be denied. It is, in fact, not only a production exhibiting considerable strength of imagination, but it is likewise elaborated, as to its execution, with singular taste and felicity. The versification, for instance, which in blank verse, if more than mediocrity be attained in its construction, is always a task of difficult achievement, appears formed, in the Vision of Mr. Hillhouse, with but few exceptions, on the most correct principles of harmony and rhythmical variety; the pauses being, in general, so placed, as both to satisfy the ear, and correspond with the tone of the subject. In another very important point of view, does the poem

of Mr. Hillhouse appear with decided advantage; for it possesses, from the plan which he has adopted, a command over the heart and feelings, which is not to be found in the attempts of those who have preceded him on the same subject. In short, such is the approach to excellence, both in the conception and execution of this little poem, that I confess myself more than commonly gratified in the opportunity of doing what lies in my power towards making it further known on this side the Atlantic; especially, as the praise to which it is so justly entitled may, in all probability, lead its author to other and more extended efforts. [From the same, by DR. DRAKE.]

ART. 30.-Specimens of the American Poets. London, 1822. THE poetical attempts of the Americans have hitherto been known to us only by their failure, and by the severity with which our critics have attacked them, and, it must be allowed, not without reason, whenever they found a sufficient opportunity. Under all this weight of discouragement, that great nation has been as active in improving her talents and refining her taste, as in advancing her political prosperity; and she may now boast of possessing bards, whom she may present with pride and confidence to their rivals on this side the Atlantic.

In point of literary dependence, America seems to be still a British colony, and to draw her supplies, in a great degree, from the mother country. She has not yet thrown off the yoke of criticism; but, on the contrary, humbles herself under it, even to the discouragement of her native genius. It is unfashionable to find any merit in her homebred aspirants; and a fine taste can only be demonstrated by an exclusive preference of English talent. In the relative state of English and American letters, this is certainly a natural inclination; but as far as regards the English reader, it has an unfortunate tendency. To him the imitation of English style and sentiment, to which it inevitably leads, is vapid and uninteresting; and he asks for those demonstrations of national spirit and character, which would be regarded by the transatlantic critic with indifference or contempt. One original note is worth all the warblings of the mocking-bird, to ears which have been long familiar with his borrowed tunes.

In the immediate extracts which we proceed to give from the "Airs of Palestine," by Mr. Pierpont, we find a very florid and ornamental style, varying from the old school of poetry only in some occasional flourishes, which cannot be considered as an

improvement. The composition might pass it off very well for an English University prize poem.

[We omit the specimens which are given here, and from the subsequent poems-but we extract all the opinions of the reviewer.]

We dismiss this portion of the volume, and certainly not without praise, if the admission may be tendered, as praise of an American poem, that it might pass undetected for good English

currency.'

The extracts with which the editor next presents us, are from the poem of "The Back-Woodsman," by Mr. Paulding. Enough is conveyed by the very title and subject of this work, to convince us that the author is not one who will confine himself to the ancient common forms of European versification; and we therefore gladly follow him into the woods of the west, in the hope of being conducted through their mighty labyrinths by the hand of a spirited and original guide. This expectation will not be disappointed: Mr. Paulding's work is, at all events, characteristic of his country. There is in it a robust energy, which sustains it under many defects. Like a strong traveller, the poet walks manfully on his way, little solicitous about the elegance of his motions. His poetry is consistent with the rest of his character, which stands high for ability. We are disposed to think that his poetical faculties are not those of which he has most reason to be proud.

A light satirical poem follows, written in the manner of Don Juan, and not without effect, entitled "Fanny." It is published anonymously; a precaution for which the writer might have his private reasons within the walls of New-York; and, indeed, we do not know that his name would have been a very powerful accessory, if it made no stronger an impression on English ears than those of Dabney, Maxwell, Bryant, and Eastburn, to whose muses we are next introduced.

Mr. Dabney's peculiar vocation appears to be to the inditing of western battle songs, in which he certainly displays considerable vigour; but, unquestionably, more in the style of an Indian chief giving the war whoop, than of Tyrtæus of old, or of our own Campbell. The genius of Mr. Maxwell is of a more classical turn, and adopts, for the most part, light and epigrammatic subjects. Mr. Eastburn's work is an imitation of Scott's poems. It is called "Yamoyden, a Tale of the Wars of King Philip;" by which latter appellation our readers must apprehend not the

object of their juvenile studies, in the history of Greece, but an unfortunate North-American chieftain, whose exploits and catastrophe are highly romantic and interesting. Of Mr. Bryant it still remains to speak; and we have no hesitation in assigning to him the superiority over all his countrymen of whom we have any knowledge. His poetry, according to the subject, is full of energy and sweetness....

We fully agree with the editor in the partiality with which he regards Mr. Bryant's productions.

A variety of fugitive pieces, drawn from different sources, conclude this pleasing epitome of American genius.

We may remark in conclusion, that the duties which the editor has prescribed to himself, are performed in a very satisfac tory manner. In his preface, and in the remarks prefixed to the different poems, he displays a fair and liberal spirit of criticism. -Monthly Magazine, May, 1822.

ART. 31.-The Renegade, translated from the original of the VICOMTE D'ARLINCOUrt. London.

We have a flourishing instance of "the most high and palmy state" to which the art of romance-writing has attained amongst the French, in this work; which, in its native language, is running rapidly through successive editions. For this extraordinary success we can perceive some temporary reasons. It contains, in the person of its hero, a mental and physiognomical portrait of Napoleon; a little varied, but sufficiently like to leave no doubt of the identity; and it is replete with allusions to the late invasion of France, and other political topics of recent occurrence. The execution is altogether in the French taste for display and theatrical effect. It is the work of a man of genius, and the translation has fallen into very competent hands.-Ibid.

ART. 32. Happiness, a Tale, for the Grave and the Gay. Second Edition. 8vo. 2 Vols. London, 1821. [New-York and Boston.]

THIS tale appears to have been written solely for the purpose of inculcating particular religious opinions, and three fourths of the volumes are occupied by the discussion of controversial points. Sectarians of all descriptions, Calvinists, Anabaptists, and Socinians, pass in review before the author, and meet with censure and reproach in proportion as they deviate more or less remotely from his notions of orthodoxy. The story consists

principally of the adventures of two young ladies, one of whom is married to a gambling rake, and the other, who is herself very pious, is at last united to a reformed infidel; who had previously broken the heart of a young damsel, one of her most intimate acquaintance, by deserting her after having engaged her affections. The work is calculated for a particular class of readers, as this short account will sufficiently indicate.-Monthly Review, Feb. 1822.

ART. 33.-The Cavalier, a Romance. By LEE GIBBONS, Esq. [His Novelist's name.] 3 Vols. 8vo. London, 1821. [A. Small, Philadelphia.]

THIS tale, as may be inferred from its title, is founded upon some events, which occurred in the time of the first Charles; in the period of the Commonwealth; and in the early part of the succeeding reign. Its heroine is a niece of the redoubted president Bradshaw, and its hero is Colonel Sydenham, afterwards Lord Falconridge, descended from Aben Seyd Namrah, a Saracen leader of great valour, who accompanied Richard of the Lion's Heart on his return from the Holy Land. This Aben Seyd was rewarded for his services, by a magnificent grant of lands in the county of Derby; and, from motives of gratitude for such munificence, as well as from other motives, conformed to the Christian faith.

The author exhibits his cavaliers in those colours which harmonize so well with the sunset of chivalry in England; they are brave, pious, loyal, hospitable, and generous; he paints the Roundheads somewhat after the style of Butler, though giving at the same time full effect to their few nobler qualities. He gives a spirited portrait of that "chief of men," Oliver Cromwell, as he looked in the last year of his mortal existence.

The love scenes are well drawn; and the heroine, Hester Bradshaw, is truly beautiful. A good relief of the comic also runs through the volumes; and we have no hesitation in ranking them in the nearest row to the wizard of the North. The Cavalier, is indeed a very excellent romance, and as such we recommend it.-European Magazine, Oct. 1822.

ART. 34.-Conduct is Fate. In three volumes. Edinburgh, 1822. [and New-York.]

THIS is neither so stupid a thing as "Whelie," nor so shocking to decency and good feeling as "SOME Passages in the Life

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