very of the fourth quarter was " an event of great and general interest," not unworthy even of the Doctor's muse in its humbler flights. But it is manifest that he left it, without envy, to the weaker wings of Southey for he adds" I was, in truth, desirous of a subject more universally interesting than even this"-and he leaves the less illustrious laureate to enjoy the circumscribed fame of his Madoc.

"I considered," continues the Doc tor, "that the poet who had made the strongest impression on the world, had been enabled to do so by his fortunate choice of the most exalted and universal subject which space in all its extent, and time in all its duration, could afford the History of Creation and the Fall of Man. On that theme did the chief of poets not only find scope for the whole power of his genius, but his genius found excitement for unequalled elevation, and became invigorated by the grandeur and vastness of the topics presented to its contemplation."

He does not inform us at what era of his search after a subject he first took into his serious consideration Milton's fortunate choice of Paradise Lost. Perhaps it was late in life. From that hour he set himself sedulously to look over "space in all its extent, and time in all its duration," for the subject next in exaltation and universality to the Creation and the Fall of Man. But that this allusion to Milton may not be misinterpreted, he has the humility to add, " if I were indeed so vain as to imagine that I possessed talents like his, where could I find a subject on which to exert them like Paradise Lost? There never can be another poetic theme connected with human affairs of equal grandeur and sublimity. Nor will there probably ever be one so felicitously treated as this has been in that wonderful poem." We acquit Dr M'Henry of the vanity of imagining that he possesses the "talents" of Milton. But if he does not believe that he is a poet of the highest order-next to that where Milton sits supreme or sole then he must be a great ninny. For who, short of a great poet or a great ninny, would "for many years entertain the design of writing a narrative poem on some great event in the history of man"-keep searching the annals of for an event "not only great in its character, but

universal in its effects"-declare "the founding of a state, the achievement of a victory, and the overthrow of an empire, inadequate to his wishes"be "desirous of a subject more universally interesting than the discoveing of the New World" - envy Milton his "fortunate choice of the Creation and Fall of Man" - and finally fix on the subject next in exaltation and universality to Milton's-" which space in all its extent, and time in all its duration, could afford ?"

Milton having anticipated M'Henry in the Creation and Fall, the Doctor, though often damped, was never dismayed and on "the first of April morn by the chime"-A.D. 18-, by a desperate but triumphant effort of inventive genius, he bethought himself ofTHE FLOOD. "Still in the annals of mankind there remained one subject unappropriated by the Epic Muse, which, although to sustain it suitably required less daring flights than that which was chosen by Milton, was yet amply magnificent and universally interesting - namely, THE FORTUNES AND CATASTROPHE OF THE ANTEDILUVIAN WORLD."

What a breakfast the Doctor must have devoured that morning! or was he too much agitated to eat? "Throw physic to the dogs-now shall I show that poetry is no drug-here goes a bumper to Apollo!" And so saying, the inspired M. D. turned up his diamond-ringed little finger and in a cup of the "fragrant lymph that cheers but not inebriates," revelled beneath the beams of the god unshorn, and looked "rapt, inspired," as if he would

"Break Priscian's head, and ravish all the Nine!"

But after a few hours, the Doctor seems to have subdued his exultation to a pitch of sober and sustained selfcomplacency that has never since deserted him, and on that morning expressed itself in prayer.

"Oh! to sustain it till the strength be gain'd,

To which so earnestly my soul aspires; No hope have I but in His mighty aid Who bore the bard of Paradise to hea

ven,

And there disclosed to him such scenes sublime,

And glorious wonders, secrets fit for gods, As human thought had ne'er before con

And with due strength successfully attained."

The most difficult department in the art of flying, is that which embraces the action of the wings in the first essays of the fowl be he anceps or anserto assoilzie himself from the encumbrance of the earth. Once up, he has no real ground for uneasiness about coming down, especially if he has the sense to go large-before the wind"goose-winged," and never attempt to tack. We have seen fowls of the earth enabled, by adopting such precautions, to keep company with fowls of the air, and perform more than respectably

"An arduous flight,

More arduous than has oft been tried by man;"

but the difficulty, we repeat, in getting off their feet, webbed or otherwise, "lies in the first step towards any aerial undertaking;" that feat achieved,

But to return more immediately to the Doctor. "This was the subject," he goes on to say, "that appeared to me the best calculated of any yet unsung to impart dignity and interest to a narrative poem. After due deliberation, I had the boldness to adopt it, although I was fully sensible of the difficulty of doing justice to a theme of such magnitude. It was certainly one exalted and sublime enough for the exercise of poetic talents of the highest order, and poetic ambition of the most fervid character. It presented a field in which the most active imagination could freely range, limited only by the dictates of reason and the laws of possibility." "Nay, it had," quoth the Doctor, "one advantage which Milton did not find in his mighty theme: it supplied abundant occasion for the display of human nature in its fallen

state." Did the Doctor never read the Eleventh Book of Paradise Lost?

In studying the annals of mankind, the Doctor saw "one subject unappropriated by the Epic Muse;" but he afterwards tells us, that whether " the title epic, according to the scholastic meaning of the word, be awarded to this poem, is a matter of no importance, provided its readers derive enjoyment from its perusal. My great aim having been to produce an interesting poem on an interesting subject, I feel but little concern as to what class of poetical productions the work shall be assigned." This is hardly

fair-for the author of The Antediluvians could not have been ignorant of the existence of James Montgomery's World before the Flood. It is not an epic poem; but it is an "interesting poem," on the subject which the Doctor says was unsung--and it is a narrative poem. Byron's Heaven and Earth_if we mistake not-is about the Antediluvians - so is Moore's Loves of the Angels so is Reade's Wanderings of Cain; and Heraud's Judgment of the Flood is an epic. In no sense of the word, then, could it be truly said that the subject was unsung; it had been sung in the English language-lyrically, narratively, dramatically, and epicly-and in many other tongues unknown to the Doctor, but nevertheless openly spoken by diverse nations. The Doctor, on that memorable first of April-to which "our free shepherds give a grosser name"_ in the pride of his heart, discovered a mare's nest.

"In regard to the plan of this work, the events are related in their natural order, as they succeed each other in point of time. I preferred this method to that of the stale and easy artifice prescribed by the schools, for preserving what is technically called the unity of the action,' by beginning in the middle of the story, and causing some of the personages to occupy a large portion of the work, by relating anterior events." The worthy Doctor knows nothing of the prescriptions of "the schools." In no narrative or epic poem-spoken of in "the schools" do any "personages occupy a large portion of the work, by relating anterior events." Heavens! can he mean to find fault with

"Infandum, regina, jubes renovare dolorem?"

Homer employs the "stale and easy

artifice" of beginning in the middle -or rather near the end of the Tale of Troy divine. Milton - but, oh dear! Dr M'Henry! would you clap padlocks on the mouths of the fallen angels in Hell, or of the unfallen in

Heaven or in Paradise? - Interdict

Raphael from holding that "celestial colloquy divine" with Adam in the bower? Eve ever and anon going and coming; but never, when away, without the image of the first of men on her soul!

As to the order of time-it is good -no order can be better; but there are two kinds of times-believe usimperfectly as we now express ourselves outward and inward-of the succession of happenings or fallingsout of events in nature-among sun,

moon, and stars--and of the sequences

of states of our own souls - creative in their immortality; and to themeven as to their Maker-but that is a

mystery-present, past, and future, have interchangeable being, and a thousand years are but as one day.

"Stale and easy artifice," indeed!

No-fresh as the life-deep as the law of the stars. Vitality and science! The human maker imitates the Divine -his works, too, are immortal

"For he is not a child of Time,
But offspring of the Eternal Prime."

Therefore, when you say, "the plan pursued in this work was not adopted from any desire for singularity, but simply from an opinion that the best mode of constructing an edifice of any description is to commence at the foundation," you forget that body is not soul - matter not spirit; that Michael Angelo hung a stone dome on the air; that a poemParadise Lost is like the starry heavens revolving on an axis, to which time and space - mere circumstantial accidents are obedient - and at the bidding of the beautiful, which is illimitable, "hide their diminished heads" - withdrawing from the mind's empire, that owns them not, and extinguishes or restores them at the command of its own sovereign will, emanating from the Will that generated the universe.

Over and above all that, you never can have seen an old woman knitting a worsted stocking-for with her needles she takes the initial stitch far up the ham, and finishes with the toe"simply from an opinion that the best mode of constructing an edifice of this description is not to commence at the foundation."

"Scholars"-quoth the Doctor

may censure this deviation from epic rule; but they must decide that the work is an epic, before they can subject it to the compass and square, by which they have been taught to measure the merit of such a performance. This, however, is a topic too trivial for lengthened discussion."

The Doctor should tell us plainly whether or no his Antediluvians be an epic. He chose the subject, because it had not been appropriated by the Epic Muse. An epic poem is an edifice-and an edifice cannot be

built without compass and squareand but by a master mason. The topic is trivial! Not more so than the Solar System.

"I write not merely to please the adepts in syntax, and the initiated in the Pandects of Aristotle. Such I

have often found to be but poor judges of poetry. Give me for readers those, who, without regard to artificial rules and systems, will estimate my work by its influence on their feelings and fancies; and if they approve, I shall be safe in spite of philologists!"

Is the Doctor himself no "adept in syntax?" Syntax-according to Dr Johnson-is, 1. A number of things

joined together. "They owe no other dependence to the poet than what is common to the whole syntax of being." Glanville.-2. That part of grammar which teaches the construction of words. "I can produce a hundred instances to convince any reasonable man, that they do not so much as understand common grammar and syntax."-Swift. Surely the reader, as well as the writer, of the Antediluvians, ought to be "adepts" in both kinds of syntax-especially the latter; though we can easily believe that Dr M Henry has often found such "adepts" but poor judges of poetry. If by the Pandects he means the Poetics of Aristotle, he has been more fortunate than us in meeting so frequently with the initiated; but probably he alludes to some other work of the Stagyrite; for if he do not, there is not even the shadow of a meaning in " if they approve, I shall be safe in spite of philologists."

The Doctor then enters into some explanation of the principles on which he has constructed his versification. "I have written it in blank verse, because I conceive that species of verse to be more suitable than rhyme for a long and narrative work. The frequent recurrence of similar sounds which constitutes rhyme, however ornamental and agreeable in short productions, becomes, from its monotony, fatiguing in works of much length. Rhyme has, besides, an artificial air, which does not suit well with the freedom and ease required in an extended narrative performance. It also causes the work to move more slowly, as if it were in fetters, than comports well with the usual impatience of a reader who is interested in the events narrated." We have not Dr Johnson's abhorrence of blank verse _ on the contrary, we love it dearly when it is good; but poor blank verse is even the poorest of all poorest things and such, we fear, is the blank verse of the Antediluvians, or the World Destroyed, But, before we come to that, let us be allowed to say a word or two in season for "the frequent occurrence of similar sounds which constitutes rhyme." The proof of the pudding is in the eating of itand who in his senses ever wished that Ariosto, or Tasso, or Camoens, or Spenser, or Wieland, had written in -blank verse? All great narrative

poems with hardly an exception are in rhyme; and, so far from moving as if in fetters, they flow freely as mountain-born rivers through a hilly country to the sea. Why should rhyme have more of " an artificial air" in "an extended narrative performance," than in an ode or hymn? All poetry is artificial and therein lies its power, and the might of its majesty. The poet fills our souls with love and admiration of his beautiful and wonder ful mastery over all the world of words - if it be his delight to rhyme his inspirations, it is ours-our ears are tuned by a few stanzas to the music it is his will to prefer and to prolongand in that music we are made to feel that there is an inexhaustible variety -combinations innumerable-and inconceivable by us till we heard them - through them they seem to speak to our experiences of sweet or solemn sounds to awaken reminiscences of delight or awe felt in some other world -so softly do they touch, or so strongly do they smite, the chords that in every human heart are ready to respond to the breath of genius" airs from heaven."

"The composition of the following work, it will be easily perceived, is not particularly modelled after that of any preceding author." The Doctor says he does not mention that as entitling him to credit; for that, in a literary composition, he feels that it would be more difficult for him to imitate others, than to follow the direction of his own views and impulses. "As I permitted my thoughts to arise spontaneously from my subject, so I permitted my language to flow spontaneously from my thoughts." Is is not easy to imagine a happier frame of mind than this-when all that is necessary to the production of "an extended narrative poem," is to permit it to arise, and go to press. By this means I was enabled to avoid singularity on the one hand, and I hope I have avoided all appearance of imitation on the other." Besides, he is of opinion, that the blank verse of Milton, or Young, or Thomson, would one and all have been equally unsuitable for such a poem as The Antediluvians. That of Milton is "magnificently epic, but so consecrated by the halo of veneration which surrounds it, that I dared not approach it;" and further, "if I had adopted any of its peculiarities on account of my subject, I should have been accused by thoughtless critics of imitating it." That of Thomson he considered "too diffuse and florid"--of Young, "too antithetical and sententious"-of Akenside, "too excursive and full of complication"of Cowper, "too sedate and didactic" -for his subject, The Antediluvians, or the World Destroyed.

We suspect that the Doctor laboured under a pretty considerable confusion of ideas while inditing the abovecaused by the affliction called in Scotland stupefication of the head. His intention was to characterise "the excellence of the versification of each of our great English writers of blank verse," but, at the same time, to show that the versification of none of them was suitable for his work-whereas, he says not a syllable about their blank verse, but maunders of their styleand of what he conceives to be its characteristics. The verse of Milton, he says, is "magnificently epic;" and so far well; but in the next sentence, without being in the least aware that he has shifted the subject, he says, "the style of none of our other poets;" and deals out his too this, and his too that, as profusely as if he were the spokesman at a consultation. It must be mighty pleasant to snub in this way a series of great poets, all the while complacently stroking your own chin. We admire The Seasons, Jemmy, but your style, however well suited to them, is too florid and diffuse for our Antediluvians. Mark! the Pleasures of Imagination do you credit-but your style, allow us to whisper in your ear, is too excursive and full of amplification for the World Destroyed. Ned, you are a nightingale, "most musical, most melancholy," but your style, our moralizing youth, in the Night Thoughts, is too antithetical and sententious-indeed it is for " a long narrative poem, on a subject in the annals of mankind still unappropriated by the epic muse." Bill, my boy, you have completed your Task cleverly, and there is one sugar-plum for yourself and another for Mary Unwin, but your style is "too sedate and didactic" for a theme so " amply magnificent and universally interesting" as " THE FOT UNES AND CATASTROPHE OF THE

ANTEDILUVIAN WORLD." So get along, ye diffuse, florid, antithetical, sententious, excursive, full-of-amplification,

sedate, and didactic dogs, while "I permit my thoughts to arise spontaneously from my subject, and my language to flow spontaneously from my thoughts," and thus produce "versification, which, it will be easily perceived, is not particularly modelled after that of any preceding author."

And what thinks the Doctor of the style or blank verse of his contemporaries? "A description of blank verse of a more loose character and languid movement than that of either of those writers, has been introduced into our language, by the poets of a well-known modern school, who, ever since the commencement of the present century, have been labouring to revolutionize our literature, and to infuse into our minds a poetical taste different from that which we inherited from our fathers, and to which every poet who has become the permanent favourite of mankind, has conformed his productions. If to the slow-moving and spiritless style of this new school, there be any resemblance in the versification of the following poem, I am as unconscious of it, as I am incredulous of the power of any innovators to infuse a new poetical taste into the mind of man."

Now, Doctor, chuck yourself under the chin with your left, and with your right tickle your organ of self-esteem; and then, let us gently tap your development with the padded horn of the Crutch, now on the peace establishment.

You mean Wordsworth, Southey, and Coleridge? Well, then, and you think their blank verse distinguished by the same characteristics? Well, then, your ears are leather-not buckskin breeches-leather-but shoe-leather-but not of the shoe-leather which upper-leathers are composed but of the leather which is dedicat to soles-double-soles, with tack (Scottice, sparables,) in which the angler fords the Tweed, waist-deep, yet stumbleth not once among the cobles till he gain the opposite bank-abroomy slope, crowned by an old Keep, dilapidated, but not seen to be so, in its bower of elms.

The worthy Doctor speaks of a "poetical taste which we inherited from our forefathers." Who were our forefathers? - Chaucer, Spenser, Shakspeare, Milton, Dryden, Pope, Gray, Collins, Thomson, Goldsmith, Aken