Faustus is gone! — regard his hellish fall,
Whose fiendful torture may exhort the wise,

Only to wonder at unlawful things.” But these, and many other smooth and fanciful verses in this curious old drama, prove nothing, we think, against the originality of Manfred; for there is nothing to be found there of the pride, the abstraction, and the heart-rooted misery in which that originality consists. Faustus is a vulgar sorcerer, tempted to sell his soul to the Devil for the ordinary price of sensual pleasure, and earthly power and glory — and who shrinks and shudders in agony when the forfeit comes to be exacted. The style, too, of Marlowe, though elegant and scholarlike, is weak and childish compared with the depth and force of much of what we have quoted from Lord Byron; and the disgusting buffoonery and low farce of which his piece is principally made up, place it much more in contrast, than in any terms of comparison, with that of his noble successor.

In the tone and pitch of the composition, as well as in the character of the diction in the more solemn parts, the piece before us reminds us much more of the Prometheus of Æschylus, than of any more modern performance. The tremendous solitude of the principal person — the supernatural beings with whom alone he holds communion—the guilt—the firmness the misery

- are all points of resemblance, to which the grandeur of the poetic imagery only gives a more striking effect. The chief differences are, that the subject of the Greek poet was sanctified and exalted by the established belief of his country; and that his terrors are nowhere tempered with the sweetness which breathes from so many passages of his English rival.

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Reliques of Robert Burns, consisting chiefly of Original

Letters, Poems, and Critical Observations on Scotish Songs. Collected and published by R. H. Cromek. 8vo. pp. 450. London : 1808.

BURNS is certainly by far the greatest of our poetical prodigies — from Stephen Duck down to Thomas Dermody. They are forgotten already; or only remembered for derision. But the name of Burns, if we are not mistaken, has not yet “gathered all its fame;" and will endure long after those circumstances are forgotten which contributed to its first notoriety;. So much indeed are we impressed with a sense of his merits, that we cannot help thinking it a derogation from them to consider him as a prodigy at all; and are convinced that he will never be rightly estimated as a poet, till that vulgar wonder be entirely repressed which was raised on his having been a ploughman. It is true, no doubt, that he was born in an humble station ; and that much of his early life was devoted to severe labour, and to the society of his fellow-labourers. But he was not himself either uneducated or illiterate; and was placed in a situation more favourable, perhaps, to the development of great poetical talents, than any other which could have been assigned him. He was taught, at a very early age, to read and write; and soon after acquired a competent knowledge of French, together with the elements of Latin and Geometry. His taste for reading was encouraged by his parents and many of his associates ; and, before he had ever composed a single stanza, he was not only familiar with many prose writers, but far more intimately acquainted with Pope, Shakespeare, and Thomson than nine tenths of the youth that now leave our schools for the university. Those authors, indeed, with some old collections of songs, and the lives of Han



nibal and of Sir William Wallace, were his habitual study from the first days of his childhood; and, co-operating with the solitude of his rural occupations, were sufficient to rouse his ardent and ambitious mind to the love and the practice of poetry. He had about as much scholarship, in short, we imagine, as Shakespeare; and far better models to form his ear to harmony, and train his fancy to graceful invention.

We ventured, on a former occasion, to say something of the effects of regular education, and of the general diffusion of literature, in repressing the vigour and originality of all kinds of mental exertion. That speculation was perhaps carried somewhat too far; but if the paradox have proof any where, it is in its application to poetry. Among well educated people, the standard writers of this description are at once so venerated and so familiar, that it is thought equally impossible to rival them, as to write verses without attempting it. If there be one degree of fame which excites emulation, there is another which leads to despair: Nor can we conceive any one less likely to be added to the short list of original poets, than a young man of fine fancy and delicate taste, who has acquired a high relish for poetry, by perusing the most celebrated writers, and conversing with the most intelligent judges. The head of such a person is filled, of course, with all the splendid passages of ancient and modern authors, and with the fine and fastidious remarks which have been made even on those

passages. When he turns his eyes, therefore, on his own conceptions or designs, they can scarcely fail to appear rude and contemptible. He is perpetually haunted and depressed by the ideal presence of those great masters, and their exacting critics. He is aware to what comparisons his productions will be subjected among his own friends and associates; and recollects the derision with which so many rash adventurers have been chased back to their obscurity. Thus, the merit of his great predecessors chills, instead of encouraging his ardour; and the illustrious names which have already reached to the summit of excellence, act like the tall and spreading trees



of the forest, which overshadow and strangle the saplings which may have struck root in the soil below — and afford efficient shelter to nothing but creepers and parasites.

There is, no doubt, in some few individuals, “ that strong divinity of soul” – that decided and irresistible vocation to glory, which, in spite of all these obstructions, calls out, perhaps once or twice in a century, a bold and original poet from the herd of scholars and academical literati. But the natural tendency of their studies, and by far their most common effect, is to repress originality, and discourage enterprize; and either to change those whom nature meant for poets, into mere readers of poetry, or to bring them out in the form of witty parodists, or ingenious imitators. Independent of the reasons which have been already suggested, it will perhaps be found, too, that necessity is the mother of invention, in this as well as in the more vulgar arts; or, at least, that inventive genius will frequently slumber in inaction, where the preceding ingenuity has in part supplied the wants of the owner. A solitary and uninstructed man, with lively feelings and an inflammable imagination, will often be irresistibly led to exercise those gifts, and to occupy and relieve his mind in poetical composition: But if his education, his reading, and his society supply him with an abundant store of images and emotions, he will probably think but little of those internal resources, and feed his mind contentedly with what has been provided by the industry of others. To

say nothing, therefore, of the distractions and the dissipation of mind that belong to the commerce of the world, nor of the cares of minute accuracy and high finishing which are imposed on the professed scholar, there seem to be deeper reasons for the separation of originality and accomplishment; and for the partiality which has led poetry to choose almost all her prime favourites among the recluse and uninstructed. A youth of quick parts, in short, and creative fancy — with just so much reading as to guide his ambition, and roughhew his notions of excellence - if his lot be thrown in



humble retirement, where he has no reputation to lose, and where he can easily hope to excel all that he sees around him, is much more likely, we think, to give himself up to poetry, and to train himself to habits of invention, than if he had been encumbered by the pretended helps of extended study and literary society.

If these observations should fail to strike of themselves, they may perhaps derive additional weight from considering the very remarkable fact, that almost all the great poets of every country have appeared in an early stage of their history, and in a period comparatively rude and unlettered. Homer went forth, like the morning star, before the dawn of literature in Greece and almost all the great and sublime poets of modern Europe are already between two and three hundred years old. Since that time, although books and readers, and opportunities of reading, are multiplied a thousand fold, we have improved chiefly in point and terseness of expression, in the art of raillery, and in clearness and simplicity of thought. Force, richness, and variety of invention, are now at least as rare. as ever. But the literature and refinement of the age does not exist at all for a rustic and illiterate individual; and, consequently, the present time is to him what the rude times of old were to the vigorous writers which adorned them.

But though, for these and for other reasons, we can see no propriety in regarding the poetry of Burns chiefly as the wonderful work of a peasant, and thus admiring it much in the same way as if it had been written with his toes; yet there are peculiarities in his works which remind us of the lowness of his origin, and faults for which the defects of his education afford an obvious cause, if not a legitimate apology. In forming a correct estimate of these works, it is necessary to take into account those peculiarities.

The first is, the undisciplined harshness and acrimony of his invective. The great boast of polished life is the delicacy, and even the generosity of its hostility — that quality which is still the characteristic, as it furnishes the denomination, of a gentleman—that principle which

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