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style of Beppo and Don Juan--and not quite successfully attempted. Mr C. has no great turn for pleasantry; and no knack at all—and we are glad of it-at scorn and misanthropy.
The two following stanzas, which have nothing to do with the
Borne to his shallow grave : the bearers trod
And soon his bones were laid beneath the sod:
Methought the prayer which gave him to his God
Had ceased awhile, but the loud winds did shriek
The flag-staff on the church-yard tow'r did creak,
And then the flapping raven came to seek
Seem'd weary with a long day's wandering.' p. 59.
The Falcon' is an exquisite imitation, or versification rather, of a beautiful and very characteristic story of Boccacio. Though thrown into a dramatic form, the greater part of it is a very literal version of the words of the original and the whole is perfectly faithful to its spirit. Nor do we remember to have seen any thing in English so well calculated to give a just idea of the soft and flowing style, and of the natural grace and pathos of that great master of modern literature. Then follow a number of little poems, songs, sonnets, and elegiesall elegant and fanciful. The following is entitled : Marcelia.'
It was a dreary place. The shallow brook
Never may net
For not a fish abides there. The slim' deer
The foaming hound laps not, and winter birds
For some misdeed.' pp. 102, 103. We may select the following, too, from a little fragment called · Portraits.'
• Behind her followed an Athenian dame,
(The pale and elegant Aspasia)
i her Tove with droops
At last she sank as dead. A noxious worm
In dark requital for its banquet-death.' pp. 105-107, The last poem, called · Diego de Montilla, is, like Gyges, an imitation of Don Juan--and is liable to the same remarks. It is the longest piece, we think, in the collection-extending to some eighty or ninety stanzas ;--and though it makes no great figure in the way of sarcasm, or lofty and energetic sentiment, it comes nearer perhaps than its immediate prototype to the weaker and more innocent pleasantry of the Italian ottava rime
—and may fairly match with either as to the better qualities of elegance, delicacy, and tenderness. There is, as usual, not much of a story. Don Diego falls in love with a scornful lady
and pines on her rejection of him; on which her younger sister falls secretly in love with him and when he sets out on his travels to forget his passion, droops and fades in his absence, and at last dies of a soft and melancholy decline. Diego returns to mourn over her; and, touched to the heart by her purc and devoted love, sequesters himself in his paternal castleand lives a few calm and pensive years in retirement, when he dies before middle age, for the sake of his faithful victim. There is no profligacy and no horror in all this no mockery of virtue and honour-and no strong mixtures of buffoonery and grandeur. Most certainly there is not any thing like the powerused or misused--that we have felt in other poems in the same measure; but there is nevertheless a great deal of beauty, and a great deal of poetry and pathos. We pass over the lighter parts, and come to the gentle decay of Aurora. • Oft would she sit and look upon the sky,
When rich clouds in the golden sun-set lay
That come like music at the close of day
As 'twere from very sweetness. She was gay,
A clear transparent colour sate awhile:
And 'round her mouth there played a gentle smile,
It could not, tho’ it strove, at last beguile;
The girl was dying. Youth and beauty_all
Men love or women boast of was decaying,
Before the touch of death, who seem'd delaying,
The maiden to his home. At last, arraying
And, smiling as tho' her lover whisper'd, died.' pp. 166, 167. Diego comes just after her death. " He saw her where she lay in silent state,
Cold and as white as marble : and her eye,
Was-after the fashion of mortality,
None could withstand, were gone; and there did lie
By her a helpless hand, waxen and pale.' pp. 168.
And touch'd, like sorrow at its second stage,
His hair with silver ere his middle age.
And scarcely quitted his ancestral home,
Of birth and beauty.
Knew well its benefactor, and he'd feed
And, like the Thracian Shepherd as we read,
Behind him winged things, and many a tread
None were admitted would he muse, when first,
Had in his early infancy been nurs’d,
Or lov’d to see the great Apollo burst
Cradled within a forest's bosom, he
And, when the inland breeze was fresh and free,
There would he loiter all the livelong day,
Tossing upon the waters listlessly.
Pass'd there in quiet beauty, and at night
And shook o'er all the leaves her kisses bright,
And there the west wind often took his flight
Sheds calm refreshing light, and eyes that burn
Unto his softer page with pleasure turn:
Or the soft welling of a Naiad's urn,
After the sounding of the vast sea-waves.' pp. 170-174. We have quoted more of this than we intended, and must now turn us to our sterner work again. We hope, however, that this is not to be our last meeting with Mr Cornwall. . We are glad to see a new edition of his Dramatic Scenes advertised. We ought to have noticed that pleasing little volume beforeand should have made a few extracts from it here, if we had not mislaid our copy.--As it is, we can safely recommend it to all who are pleased with what has now been extracted.
Art. IX. 1. Remarks on the Report of the Select Committee
of the House of Commons on the Poor-Laws. By J. H. MogGRIDGE, Esq. Bristol, 1818. 2. Observations on the Circumstances which Influence the Condition of the Labouring Classes of Society. By John BARTON,
Esq. London, 1817.. 3. Observations on the Rise and Fall of the Manufacturing Sys
tem of Great Britain, 8c. London, 1819.
The industry of a great commercial country, is always lia
1 ble to temporary embarrassments, from changes in the or, dinary channels of trade, and from the varying demand for the products of its manufactures. But we believe that Great Britain, since the return of peace, affords the only instance of a regorgement being simultaneously felt in every employment in · which capital had been invested. The universality of the pre