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contemptible a publication, which is entirely devoid of argument and if it could produce any effect at all, that effect would be quite the contrary to what he intends.

ART. 26.-Letter addressed to the Right Honourable William Pitt, concerning the Establishment of an adequate Provision and Pension for Sailors and Soldiers, after certain Length of Services. By the Honourable and Reverend James Athol Cochrane, formerly Chaplain to the 82nd Regiment of Foot. 8vo. 6d. Mawman. 1805.

Mr. Cochrane has long been a chaplain in the army, and doubtless the name of soldier sounds in his ears like the name of friend.' He has accordingly, from motives which do honour both to his patriotism and his humanity, published a small pamphlet, to prove not only that soldiers and sailors are entitled by wounds and length of service to an adequate provision, but that the prospect of such provision would stimulate young men to enter into the sea and land service, and thereby prove the most effectual method of recruiting both the army and navy.

The sight of so many worn-out and maimed veterans chanting their miserable fate in every street and corner of the British domi nions, is highly disgraceful to the country; and, as Mr. Cochrane observes, the pension from Greenwich and Chelsea is entirely inadequate to their maintenance.

The continental soldiers have reason to envy their English brethren their pay and good quarters. The pay of the former, throughout the whole continent, is scarcely sufficient for their subsistence: but on the other hand they are only enlisted, generally speaking, for a certain period; and if disabled, care is usually taken to provide them with such situations as they are capable of filling; for instance, they are employed in delivering letters from the postoffices, &c.

Mr. Cochrane points out several plans for the establishment of a fund to be applied to the purpose in question, some of which are sufficiently feasible. The principal are, that an appropriate sermon be preached annually in every church and chapel in the United Kingdoms, and a collection made for the purpose from house to house; that a per-centage should be levied on all fortunes above a certain value; that a small tax be paid each year by every person fit to carry arms; and finally, that the money arising from the sale of commissions be applied to assist this fund.


ART. 27.The Pleasures of Composition; a Poem, in two Parts. Part I. 2s. 6d. Hatchard. 1804.

We cannot encourage this author to publish his second part. listen advertises his intention of 'not rivalling the Pleasures of them to aion, Memory, Hope, &c.' and we commend his mo those who,

desty. But where there is no emulation, nothing great will be performed; and as to the puny efforts of conscious imbecility, they had better be confined to an audience of forgiving friends. The public is a more just, and therefore a severer judge. Will it not coincide with our opinion of the merits of this author? who must feel in a high degree the pleasures of composition,' when he can even himself be pleased with such stuff as the following: it is taken from the part of this poem that relates to music.

'Next to Ausonia flew the 'witching maid,
And, long neglected, mourn'd Lyceum's shade;
Where genius bade the fair musician rule,
And cold philosophy adopt her school.
Yet, in th' eventful episodes of Rome,

Her dormant talents would betray their home:
Fix honor's dictates, when inclined to swerve,
And draw its poison from the lustful nerve.
Wine, rage, desire, impel the mad'ning youth,
To burst the bonds of modesty and truth;
With satyr-fangs his mistress to assail-
Deaf to her pray'r, her strength, her senses fail;
No parent nigh, her chastity to guard;
No hope-when lo! a blind, domestic bard,
Drawn by her cries, calls rhet'ric from the wires,
To virtue's rescue, while the Muse inspires.
Delightful minstrel! what reward was thine!
Who Composition rais'd to heights divine :
Who heard, chastis'd, the youth for pardon sue,
And grant to music, what was beauty's due !'

P. 18.

We are here (not without reason) referred to the notes, where we find this explanation of the above:

The author trusts he has not offended against propriety, in removing the scene of this anecdote (quoted by a Greek writer) from Greece to Rome. As music was held in less estimation in Italy in those times, the remarkable power attributed to it in this instance, may be easier accounted for, than in a country where the talent was cultivated, and its charms familiar to youth. Vide Quint. L. 5. P. 46.

We did look in Quintilian, book the 5th, for this anecdote, but in vain. We traced its origin in L. 1, c. 8, ad finem, edit. Rollin: Nam et Pythagoram accepimus' (this the author calls a quotation from a Greek writer) concitatos ad vim pudicæ domui afferendam juvenes, jussâ mutare in spondeum modos tibicinâ, composuisse. What is meant by changing the scene of this anecdote from Greece to Rome'? If such a thing ever happened, it probably did in the voluptuous town of Crotona, where Pytha goras kept a school. Must we refer this author to his Cellarius for the situation of Magna Grecia ? We will save him the trou

ble of hunting in the index, and negatively inform him that Magna Græcia is no part of Peloponnesus, nor is it any one of the countries on the other side of the isthmus of Corinth; he need not therefore be in fear of having offended against propriety by changing the scene of this anecdote from Greece to Rome.'

We have in this passage united a specimen of prose and poetry, rarely equalled. But we are threatened with a voluminous head of poetry' in the second part; for here the author feels more confident in his own judgment' (see his advertisement); in his notes too he probably will expatiate as largely as in the present pamphlet, where there are forty pages of illustration and confirmation' out of sixty. The author of The Pleasures of Composition' will surely pardon us a parody of his concluding lines. We have retained all the faults and nonsense, to make our copy more like the original.

Oh! would thy harp in plaintive notes severe,
Lull the grammarian's strictly judging ear,
Calm men, by criticism savage grown,

Or soften hearts more obdurate than stone,

Then Grub-street's sons might still be blest and free,
And fabled Dunciads realiz'd by thee !'

See Pleasures of Composition, P. 21.

ART. 28.-The Picture; Verses written in London, May 28, 1803, suggested by a magnificent Landscape of Rubens, in possession of Sir George Beaumont. By the Rev. Wm. Lisle Bowles. 4to. 25. Cadell. 1804.

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We are sorry that a magnificent landscape of Rubens' should have suggested to Mr. Bowlcs,-who certainly has descriptive powers, as his Combe Ellen' and St. Michael's Mount' testify, such poor drivel as the whole of the present composi tion, particularly pages 10 and 11. The obvious plagiarisms which we there find from Auld Robin Grey' and Over the Mountains,' are indeed disgraceful. Such petty poetical larceny is beneath the author of the following sonnet.

• Written in a Convent.

If chance some pensive stranger hither led,
His bosom glowing from majestic views
The gorgeous dome, and the proud landscape's hues,
Should ask who sleeps beneath this lowly bed,
'Tis poor Matilda-to the cloister'd scene
A mourner beauteous and unknown she came,
To shed her tears unmark'd, and quench the flame
Of fruitless love-yet was her look serene,
As the pale moon-light in the midnight aisle!
Her voice was soft, and such a charm could lend
As that which spoke of a departed friend,

And a meek sadness sat upon her smile;
Now, far remov'd from ev'ry earthly ill,
Her woes are buried, and her heart is still.'

There certainly are many errors in the style of the above, but it is far superior to the generality of sonnets; it is full of tenderness, and has some very poetical colouring. Let Mr. Bowles write us an elegy or two: he would not lament in Latin imagery, like Hammond; for we think him well qualified to express

• Quo desiderio veteres revocamus amores,
Atque olim amissas flemus amicitias!'

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It is the motto to his Sonnets. Not that we recommend these fetters of fourteen lines to him, any more than Odes upon the Battle of the Nile.' He may recite elegies with impunity.

ART. 29-An Essay on Man, upon Principles opposite to those f Lord Bolingbroke, in Four Epistles, with a Preface and Notes. By W. Churchey. 12mo. 4s. Kirby. 1804.

Mr. Churchey, as he confesses, is only to be opposed to lord Bolingbroke, as a philosopher, and not to Mr. Pope, as a poet, It will suffice to say, upon this part of the book, that the principles are those of an earnest advocate in the cause of christianity, but perhaps rather too warm an admirer of Mr. John Wesley, whom the author calls as to his style, the Mansfield of the christian world in his day :' Notes, P. 72. The six lines descriptive of the deluge, P. 25, would, we think, constitute one of the most poetical pa sages in the essay, were it not for the bathos in the last Towns, cities, cedars, in one ruin fall.' The millennium is tolerably well pictured too (epistle 4th, page 63), but we have not room to transcribe it.

Upon the whole, however, we were much more edified than amused by this production; which, although we might perhaps have been contented with it as a religious essay, from its being merely edifying, yet we might have expected to have been more amusing as a poem. Poetical essays indeed are constitutionally dull, unless embellished by something like the wit of Pope, of whom we may much more truly say than Johnson did of Goldsmith, Nihil quod tetigit, non ornavit.'


ART. 30.-Poems, Tales, Odes, Sonnets, Translations from the British. By Richard Lloyd, author of Beaumaris Bay, Gayton Wake, &c. 2 vols. 12mo. 6s. Williams. 1804..

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In a former number we had occasion to notice Mr. Richard Llwyd, as the author of a poem entitled Mary Dod, and her List of Merits,' in terms of no very high commendation. We are sorry that we cannot now retract our sentiments of this Cambrian bard; and if our readers are disposed to think us unjustly severe, we condemn them to read the following:

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Yes, gen'rous Saxon*, in a kinder age,

My country looks, with pleasure, on thy page;
Where manly thoughts, in candcur's language drest,
Denotes the worth, that dwells within thy breast!
Expatriated fair, in earliest youth,

Thy Cambria forc'd to western rocks to flee
Has seldom seen, th' impartial pen of truth,
Her years, her tears, retrace, on thy side Dec.
• Yet saw the drop, that issu'd from thy soul,
Bedew the tome of time, of crime the roll;
Hears thee, with healing voice, her wrongs regret,
And bid her happier hours, the past-forget.

Let, Warrington, her native mountain bard,
Lead, to thy liberal eye-this dear reward!' P. 135.

ART. 31.-The Sorrows of Seduction, with other Poems. Small 8co. 5s. Longman. 1805.

Its title its passport, this poem will probably form part of the furniture of many a lady's dressing-room. With that let the author be content. We cannot encourage him in his design of completing the poem of which the Sorrows of Seduction' only form a part. There are the strongest reasons why he should never have appeared in print at all. These reasons, which are to be found in his preface, are, that he has had no advantages of education, that he is engaged in an employment which gives him but little leisure for literary pursuits, and above all, that he has no literary friend to whom he can submit the examination of his performances. He has not by nature sufficient poetical powers to counterbalance these deficiencies; and though we allow that much worse poems constantly issue from the press, yet, to a sensible man, that is but poor encouragement.

The story of this poem may easily be guessed, and shortly told. A country-girl is seduced and deserted by a young man, who repents on his death-bed. But the verses are not quite good enough to make the reader take an interest in the story. At the end of the volume are some smaller pieces, whose merit is not greater than that of the Sorrows of Seduction.'


ART. 32.The English Fleet in 1342, an Historical Comic Opera, in Three Acts; as performed at the Theatre-Royal Covent Garden ; written by Thomas Dibdin, Esq. 8vo. 1s. 6d. Longman. 1805. For the historical foundation of this opera we are directed to consult the second volume of Hume's England; this was judi

A native of England is still known in Wales as a Saxon, or Sais.'

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