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Which last line is most happily lengthened out into an Alexandrine, to make the sound an echo to the sense. The pause too after the words “ shail tell,” finely marks the sudden catches and spasmodic efforts of a dying man. Some extracts from the Drummer's prophecies have already been given to the public ; and from these specimens of his loquacity with a thurst in quarte through his lungs, our readers will probably see the propriety with which the immediate hand of Heaven is here introduced. The most rigid critic will not deny that here is truly the

Dignus vindice nodus, which Horace requires to justify the interposition of a Divinity.

We are now come to the concluding lines of the sixth book. Our readers are probably acquainted with the commonly-received superstition relative to the exit of Magicians, that they are carried away by Devils. The poet has made exquisite use of this popular belief, though he could not help returning in the last line to his favourite Virgil. Classical observers will immediately perceive the allusion to

. Revocare gradum, superasque evadere ad auras

Hic labor, hoc opus est; in the description of Rollo's re-ascent from the night-cellar into the open air.

The Prophet foreseeing his instant end,

“ At once, farewel,” he said. But, as he said,
Like mortal bailiffs to the sight array'd,
Two fiends advancing seizod, and bore away
To their dark dens the much-resisting prey :
While Rollo nimbly clamber'd in a fright,
Tho' steep and difficult the way, to light.


And thus ends the sixth book of the RolLIAD; which we have chosen for the subject of the First Part of our CritiCISMS. In the second part, which is now going on in the Morning-Herald, where the first draughts of the present numbers were originally published, we shall pursue our Commentary through the House of Peers ; and in a third part, for which we are now preparing and arranging materials, it is our intention to present our readers with a series of anecdotes from the political history of our ministry, which our author has artfully con'trived to interweave in his inimitable poem.

And here, while we are closing this first Part, we cannot but congratulate ourselves,

that we have been the humble instruments of first calling the attention of the learned to this wonderful effort of modern genius, the fame of which has already exceeded the limits of this island, and perhaps may not be circumscribed by the present age ; which, we have the best reason to believe, will very shortly diffuse the glory of our present Rulers in many and distant quarters of the globe ; and which may not improbably descend to exhibit them in their true colours to remote posterity. That we indeed imagine our Criticisms to have contributed very much to this great popularity of the RolLIAD, we will not attempt to conceal. And this persuasion shall animate us to continue our endeavours with redoubled application, that we may complete, as early as possible, the design, which we have some time since formed to ourselves, and which we have now submitted to the Public; happy, if that which is yet to come, be received with the same degree of favour as this, which is now finished, so peculiarly experienced even in its most imperfect condition.






W e have now followed our admirable author through the Sixth Book of his poem ; very much to our own edification, and, we flatter ourselves, no less to the satisfaction of our readers. We have shewn the art with which he has introduced a description of the leading characters of our present House of Commons, by a contrivance something similar indeed to that employed by Virgil, but at the same time sufficiently unlike to substantiate his own claim to originality. And surely every candid critic will admit, that had he satisfied himself with the same device, in order to panegyrize his fa

vourites in the other House, he would have been perfectly blameless. But to the writer of the ROLLIAD, it was not sufficient to escape censure ; he must extort our praise, and excite our admiration.

Our classical readers will recollect, that all Epic Heroes possess in common with the poets who celebrate their actions, the gift of prophecy; with this difference however, that poets prophecy while they are in sound health, whereas the hero never begins to talk about futurity, until he has received such a mortal wound in his lungs as would prevent any man but a hero from talking at all : and it is probably in allusion to this circumstance, that the power of divination is distinguished in North Britain by the name of SECOND SIGHT, as commencing when common vision ends. This faculty has been attributed to dying warriors, both by. Homer and Virgil; but neither of these poets have made so good use of it as our author, who has introduced into the last dying speech of the Saxon Drummer, the whole birth, parentage, and education, life, character, and behaviour, of all those benefactors of their country, who at present


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