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When gush'd the life-blood from thine angel form,
And martyr'd beauty perish'd in the storm,
Once worshipp'd paragon of all who saw,

Thy look obedience, and thy smile a law."

What is the distinction between the foul orgies and the raging havoc which the foul orgies are to picture? Why does Fright go behind Rebellion, and Murder before? Why should not Murder fall behind Fright? Or why should not all the three walk abreast? We have read of a hero who had

"Amazement in his van, with flight combined,

And Sorrow's faded form, and Solitude behind." Gray, we suspect, could have given a reason for disposing the allegorical attendants of Edward thus. But to proceed, "Flower of Austria" is stolen from Byron. "Dropp'd" is false English. "Perish'd in the storm" means nothing at all; and "thy look obedience" means the very reverse of what Mr. Robert Montgomery intends to say.

Our poet then proceeds to demonstrate the immortality of the soul:

"And shall the soul, the fount of reason, die,

When dust and darkness round its temple lie?
Did God breathe in it no ethereal fire,

Dimless and quenchless, though the breath expire ?"

The soul is a fountain; and therefore it is not to die, though dust and darkness lie round its temple, because an ethereal fire has been breathed into it, which cannot be quenched though its breath expire. Is it the fountain, or the temple, that breathes, and has fire breathed into it?

Mr. Montgomery apostrophizes the

"Immortal beacons,-spirits of the just,"

and describes their employments in another world, which are to be, it seems, bathing in light, hearing fiery streams flow, and riding on living cars of lightning. The deathbed of the sceptic is described with what we suppose is meant for energy. We then have the deathbed of a Christian made as ridiculous as false imagery and false English can make it. But this is not enough. The Day of Judgment is to be described, and a roaring cataract of nonsense is poured forth upon this tremendous subject. Earth, we are told, is dashed into Eternity. Furnace blazes wheel round the horizon, and burst into bright wizard phantoms. Racing hurricanes unroll and whirl quivering fire-clouds. The white waves gallop. Shadowy worlds career around. The red and raging eye of Imagination is

then forbidden to pry further. But further Mr. Robert Montgomery persists in prying. The stars bound through the airy roar. The unbosomed deep yawns on the ruin. The billows of Eternity then begin to advance. The world glares in fiery slumber. A car comes forward driven by living thunder.

"Creation shudders with sublime dismay,

And in a blazing tempest whirls away."

And this is fine poetry! This is what ranks its writer with the master-spirits of the age! This is what has been described, over and over again, in terms which would require some qualification if used respecting Paradise Lost! It is too much that this patchwork, made by stitching together old odds and ends of what, when new, was but tawdry frippery, is to be picked off the dunghill on which it ought to rot, and to be held up to admiration as an inestimable specimen of art. And what must we think of a system by means of which verses like those which we have quoted, verses fit only for the poet's corner of the Morning Post, can produce emolument and fame? The circulation of this writer's poetry has been greater than that of Southey's Roderick, and beyond all comparison greater than that of Cary's Dante or of the best works of Coleridge. Thus encouraged, Mr. Robert Montgomery has favoured the public with volume after volume. We have given so much space to the examination of his first and most popular performance that we have none to spare for his Universal Prayer, and his smaller poems, which, as the puffing journals tell us, would alone constitute a sufficient title to literary immortality. We shall pass at once to his last publication, entitled Satan.

This poem was ushered into the world with the usual roar of acclamation. But the thing was now past a joke. Pretensions so unfounded, so impudent, and so successful, had aroused a spirit of resistance. In several magazines and reviews, accordingly, Satan has been handled somewhat roughly, and the arts of the puffers have been exposed with good sense and spirit. We shall, therefore, be very concise.

Of the two poems we rather prefer that on the Omnipresence of the Deity, for the same reason which induced Sir Thomas More to rank one bad book above another. "Marry, this is somewhat. This is rhyme. But the other is neither rhyme nor reason." Satan is a long soliloquy, which the Devil pronounces in five or six thousand lines of bad blank verse,

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concerning geography, politics, newspapers, fashionable society, theatrical amusements, Sir Walter Scott's novels, Lord Byron's poetry, and Mr. Martin's pictures. The new designs for Milton have, as was natural, particularly attracted the attention of a personage who occupies so conspicuous a place in them. Mr. Martin must be pleased to learn that, whatever may be thought of those performances on earth, they give full satisfaction in Pandemonium, and that he is there thought to have hit off the likenesses of the various Thrones and Dominations very happily.

The motto to the poem of Satan is taken from the Book of Job: "Whence comest thou? From going to and fro in the earth, and walking up and down in it." And certainly Mr. Robert Montgomery has not failed to make his hero go to and fro, and walk up and down. With the exception, however, of this propensity to locomotion, Satan has not one Satanic quality. Mad Tom had told us that "the prince of darkness is a gentleman;" but we had yet to learn that he is a respectable and pious gentleman, whose principal fault is that he is something of a twaddle and far too liberal of his good advice. That happy change in his character which Origen anticipated, and of which Tillotson did not despair, seems to be rapidly taking place. Bad habits are not eradicated in a moment. It is not strange, therefore, that so old an offender should now and then relapse for a short time into wrong dispositions. But to give him his due, as the proverb recommends, we must say that he always returns, after two or three lines of impiety, to his preaching style. We would seriously advise Mr. Montgomery to omit or alter about a hundred lines in different parts of this large volume, and to republish it under the name of "Gabriel." The reflections of which it consists would come less absurdly, as far as there is a more and a less in extreme absurdity, from a good than from a bad angel.

We can afford room only for a single quotation. We give one taken at random, neither worse nor better, as far as we can perceive, than any other equal number of lines in the book. The Devil goes to the play, and moralises thereon as follows:

"Music and Pomp their mingling spirit shed

Around me; beauties in their cloud-like robes
Shine forth, a scenic paradise, it glares
Intoxication through the reeling sense
Of flush'd enjoyment. In the motley host

Three prime gradations may be rank'd: the first
To mount upon the wings of Shakspeare's mind,
And win a flash of his Promethean thought,-
To smile and weep, to shudder, and achieve
A round of passionate omnipotence,

Attend the second, are a sensual tribe,

:

Convened to hear romantic harlots sing,
On forms to banquet a lascivious gaze:
While the bright perfidy of wanton eyes
Through brain and spirit darts delicious fire:
The last, a throng most pitiful! who seem,
With their corroded figures, rayless glance,
And death-like struggle of decaying age,
Like painted skeletons in charnel pomp
Set forth to satirize the human kind!-
How fine a prospect for demoniac view!

'Creatures whose souls outbalance worlds awake!
Methinks I hear a pitying angel cry."

Here we conclude. If our remarks give pain to Mr. Robert Montgomery, we are sorry for it. But, at whatever cost of pain to individuals, literature must be purified from this taint. And, to show that we are not actuated by any feelings of personal enmity towards him, we hereby give notice that, as soon as any book shall, by means of puffing, reach a second edition, our intention is to do unto the writer of it as we have done unto Mr. Robert Montgomery.

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MOORE'S LIFE OF LORD BYRON. (JUNE, 1830.)

Letters and Journals of Lord Byron; with Notices of his Life. By THOMAS MOORE, Esq. 2 vols. 4to. London, 1830.

WE have read this book with the greatest pleasure. Considered merely as a composition, it deserves to be classed among the best specimens of English prose which our age has produced. It contains, indeed, no single passage equal to two or three which we could select from the life of Sheridan. But, as a whole, it is immeasurably superior to that work. The style is agreeable, clear, and manly, and when it rises into eloquence, rises without effort or ostentation. Nor is the matter inferior to the manner. It would be difficult to name a book which exhibits more kindness, fairness, and modesty. It has evidently been written, not for the purpose of showing, what, however, it often shows, how well its author can write, but for the purpose of vindicating, as far as truth will permit, the memory of a celebrated man who can no longer vindicate himself. Mr. Moore never thrusts himself between Lord Byron and the public. With the strongest temptations to egotism, he has said no more about himself than the subject absolutely required.

A great part, indeed the greater part, of these volumes, consists of extracts from the Letters and Journals of Lord Byron; and it is difficult to speak too highly of the skill which has been shown in the selection and arrangement. We will not say that we have not occasionally remarked in these two large quartos an anecdote which should have been omitted, a letter which should have been suppressed, a name which should have been concealed by asterisks, or asterisks which do not answer the purpose of concealing the name. But it is impossible, on a general survey, to deny that the task has been executed with great judgment and great humanity. When we consider the life which Lord Byron had led, his petulance, his irritability, and his communicativeness, we

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