‘The Burial of Eros’ is a very effective allegorical poem — but all allegories are oontemptible — at least the only trio which are not contemptible (The Pilgrim's Progress and the Fairy queen) are admired in despite of themselves (as allegories) and in the direct ratio of the possibility of keeping the allegorical meaning out of sight (BJ, II, 9).

... the pleasure derivable from it, in any sense, will be found to be in the direct ratio of the reader's capacity to smother its true purpose, in the direct ratio of his ability to keep the allegory out of sight ... (GLB, XXXV, 254; H, XIII, 149).

I believe most, probably all, of the markings in the volume come from Poe's pencil — and that he used the volume in preparing his review for ‘Broadway Journal’ of July 12, 1845, in which he quotes a great many of the passages marked. (1)

No particular arrangement has been made in the selection. The stories published in the volumes before us, are neither better nor worse in general, than the remainder of the seventy. In the composition of the whole series, variety of subject and manner, especially diversity of invention, were the objects held in view. Of course the objects are lost sight of, and must necessarily be sacrificed in any mere selection of twelve tales from seventy (BJ, I, 10).

... a discriminative review of Mr. Griswold's ‘Poets and Poetry of England’ by Mr. Whipple, undoubtedly one of our finest critics (BJ, II, 10).

Our most analytic, if not altogether our best critic, (Mr. Whipple, perhaps, excepted,) is Mr. William A. Jones ... (GM, XXXVI, ???; H, XIII, 193). [page 629:]

... neither man nor devil can dissuade its editor from a monthly farrago of types so small as to be nearly invisible, and so stupid as to make us wish it were quite so ... In three lines devoted to the ‘Broadway Journal’ intended to be complimentary, we believe, although we sincerely hope not, he makes use of what he supposes to be a French proverb, and writes it chacun a son gout, taking great pains to place a grave accent on the verb, mistaking it for the preposition, and complimenting the hard c with a cedilla. ‘Within the compass of the same three lines, he talks about a nil admirari critic ... We certainly do not admire Mr. Clarke — nor his wig — but the true English of the Latin phrase is ‘to wonder at nothing’, and we plead guilty to having wondered at nothing since we have found the Knickerbocker sinking day by day in the public opinion in despite of the brilliant abilities and thoroughly liberal education of Mr. Lewis Gaylord Clarke (BJ, II, 11).

We do not know when we have seen in any American or British Journal an article we have so much admired, or one with whose opinions we have so [page 630:] thoroughly accorded, as with a late review, by Mr. Whipple, of Mr. Griswold's ‘Poets and Poetry of the Nineteenth Century’ ... The injustice done in America to the magnificent genius of Tennyson. is one of the worst sins for which the country has to answer (BJ, II, 26).

... in almost every point, except the vivida vis of glowing fancy, we look upon him as the inferior of Macaulay — a man who, if he has not written the best criticisms ever penned, has at least shown the capacity to write them; but we would rank him next to Macaulay, and very far before Leigh Hunt, who was a dexterous but unanalytical, and somewhat confused prosodist ... Upon the whole he (Hazlitt) is singularly vivid, forceful, acute, discriminative, and suggestive ... His judgment is never for one minute to be depended upon in any connected or consecutive series of opinions. He is often profound — but his profundity is invariably detailed or particular (BJ, II, 28).

He is emphatically a critic, brilliant, epigrammatic, startling, paradoxical, and suggestive, rather than accurate, luminous, or profound ... At all points, except perhaps, in fancy, he is superior to Leigh Hunt, whom nevertheless he remarkably resembles. It is folly to compare him with Macaulay, for there is scarcely a single point of approximation, and Macaulay is by much the greater man. The author of ‘The Lays of Ancient Rome’ has an intellect so well balanced and so thoroughly proportioned, as to appear, in the eyes of the multitude, much smaller than it really is. He needs a few foibles to purchase him eclat. No::, take away the innumerable follies of Hunt and Hazlitt, and we should have the anomaly of findin them more diminutive than we fancy them while the foibles remain. Nevertheless, they are men of genius still (BJ, II, 89). [page 631:]

Works were required of a piquancy to render them at once popular (for ... the immediate and extensive sale of the Library was indispensable) and at the same time, of a gravity which would enable them to make their way as volumes not only sufficiently wall gotten up, but of a sufficiently standard character to warrant their preservation in our book-cases (BJ, II, 28).

In all commentary upon Shakspeare, there has been a radical error, never yet mentioned. It is the error of attempting to expand his characters — to account for their actions -to reconcile their inconsistencies — not as if they were the coinage of a human brain, but as if they had been actual existences upon earth. We talk of Hamlet the man, instead of Hamlet the dramatis persona — of Hamlet the God, in place of Hamlet -tha a spears created. If Hamlet had really lived, and if the tragedy were an accurate record of his deeds, from this record (with some trouble) we might, it is true, reconcile his inconsistencies and settle to our satisfaction his true character, But the task becomes the purest absurdity when we deal only with a phantom. It is not (then) the inconsistencies of the acting man which we have as a subject of discussion — (although we proceed as if it were, and thus inevitably err,) but the whims and vacillations — the conflicting energies and indolences of the poet. It seems to us little less than a miracle, that this obvious point should have been overlooked (BJ, II, 89).

There are some passages, (relating chiefly to metre), with which we totally disagree, and of which we may take an opportunity: of speaking more fully hereafter — but in general the book appears to us remarkably accurate and valuable (BJ, II, 28).

Thirdly, there is a vocabulary of the roots of English words, by which the accurate purport of them is discoverable — a very important improvement ... As a text book for schools the volume cannot fail of being useful (BJ, II, 28).

Of the previous issue, one entitled ‘Old’ had so many peculiar excellences that I copied the whole of it, although quite long, in the “Broadway Journal’ (GLB, XXXV, 268; H, XV, 37).

This is a very weak and absurd imitation, or rather exaggeration of all the most reprehensible features of ‘The Mysteries of Paris’ (BJ, II, 40-1).

A pamphlet of great interest. Its title so rally explains its design that we need say little about it. The work is well translated from the French (BJ, II, 41).

A nervously written pamphlet, the design of which is to show that slavery is an inevitable condition of human society (BJ, II, 41).

My poems have been spoken of in the very highest terms in this state, by all who have seen them. Several papers have republished your notice, with also remarks an their merits, of the most flattering nature, at the same time that you were spoken of in the highest terms.(1) [page 634:]

The soil of the country, as far as its literature, is concerned, is undergoing a remarkable culture. Every variety of implement is at work upon it; ploughing, hoeing, harrowing, besprinkling, and beshowering it, after the most wonderful fashion. We hope the crop may be answerable(1) to these anxious preliminaries; among which, as one of the most hopeful, is to be counted Herr Zachokke — whom we have in various tales of humor, sentiment and wisdom, in the collection before us (BJ, II, 56).

... popular in America, to an extent which neither his intrinsic merit nor his foreign reputation would appear to justify (BJ, I, 379).

a key-note to the author and his method of composition. Several of the tales are intended to exhibit the conventions, false usages, defeats, and mal-practices of society under the direct light of nature ... The other tales are of various character and merit; — all of a popular cast, and with a sprinkling of the better salt of human nature, to savor the reader's humanity (BJ, II, 56).

We have received this novel at too late a period to do more then mention it this week, and make an extract from its pages. Hereafter we shall do it that full justice which is demanded by the celebrity and varied talent of its fair author (BJ, II, 56; H, XII, 207).

Of this number of the Library(1) we said a few words last week — but Hood was far too remarkable a man to be passed over in so cursory a manner (BJ, II, 71; H, XII, 213).

It is in Sue's best manner — full of pathos and in all respects excellent, without being intense (BJ, II, 157).

The story is really admirable — equal to Sandford and Norton — and somewhat resembling it in general tone and manner (BJ, II, 57).

Here is a vast amount of reading matter furnished for three cents. The story proceeds with interest (BJ, II, 57).

It is peculiarly wild sand entertaining (BJ, II, 57).

In taking leave of Mrs. Mowatt for the present, we have only again to record our opinion that ... (BJ, II, 60; H, XII, 211).

As a biographical sketcher Mr. Thomas is unsurpassed; and he has kindly promised us a succession of such papers as the one now published (BJ, II, 62).

I see you have published two of my sketches (Randolph-Wirt) — I observed them kindly noticed ... (1)

That we may be more clearly understood on this head,(1) we will venture to quote a few passages of definition which were used by ourselves on a former occasion — while commention on the prose style of Mr. Willis ... (BJ, II, 71; H, XII, 216).

In our notice last week, of ‘The Medics series of Italian Prose’(2) we spoke inadvertently, thus: — ‘The present enterprise extends, we believe, no farther than to the Italian Romance’. Here we were mistaken. The design is far more comprehensive. It will include many historical and other works of value (BJ, II, 94).

A late number of ‘The New York Mirror’ contains a very fulsome ‘Resume’ (sic) of “The Challenge of Barletta.(3) This ‘Resume’ (what is a resume?) is written much in the manner of Mr. Lester,(4) whom it [page 638:] compliments with great warmth, and no doubt (in Mr. Lester's opinion) with great justice. We are quite astonished, however, to find so respectable a journal as ‘The Mirror’ degrading itself to the admission of obvious puffs from the pens of ‘Correspondents’. The article in question has the following passages ... We are the ‘certain critic’ here alluded to. The phrase ‘autorial comment’ (sic) as quoted by Mr. Lester's friend or self; is a falsehood — one of his 50,000. We defy him to show us in our critique anything resembling what he unblushingly attributes to us. The ‘muddy idea’ is then only his own — and we never knew him to have one that was not. But will he be so good as to translate for the readers of ‘The Mirror’ the phrase n‘est pas — and at the same time inform us who is the Mr. McCauley to whom he attributes so much rigmarole about historical romance?

As regards the impossibility of not reading Mr. Lester's stupid book through, the only impossibility in our case, and in all that we have heard of, has been to refrain from throwing the thing out of the window after being sickened to death by the Preface (BJ, II, 109).

We give in full the comprehensive title of this work, as the best mode of explaining its design (BJ, II, 75).

This is a work to be read. Of books generally it is said, that one is fine, another artistical, another elegant, another vigorous: but the peculiar property of this book of Mr. Headley's is, that it is written to be read. He carries you along just as a man of animated gestures, quick eye, and earnest utterance takes you with him in the recital of a story or a sketch of character. Mr. Headley is an observer of great quickness; he sees at once and seizes all that suits his purpose ... These are perhaps more literally First Impressions of Travel than any ever published ... by relying merely on his own honest spontaneous impressions, he makes old things look new, and by steaming along, in true American style, through and over guide-books, itineraries, Eustace, Forsyth and company, he attains a merit analogous to that of high invention in imaginative writing. And although this spirit carries him at times too far, it gives constant freshness to his record; merging faults of style and expression in the hurry of description and the eagerness with which he constantly presents the results of his observations to the reader ... We are now and then taken aback, we confess, by an assertion of so broad and comprehensive a nature as to sweep the field of criticism and statement from end to end ... There are not a few passages tersely rendered, and, when he chooses, no one can be more pointed and descriptive in epithet than the author of these letters (BJ, II, 75).

Mr. Headley belongs to that numerous class of authors, who must be read to be understood, and who, for that reason, very seldom are as thoroughly comprehended as they should be ... (he) is the Autocrat of all the Quacks. In saying this, we beg not to be misunderstood. We mean no disparagement to Mr. Headley. We admire that gentleman himself (SLM, XVI, 609-70; H, XIII, 203, 208).

This is one of the most entertaining books yet issued in the American series. The vivacity and brilliant fancy of Headley throw a charm over all of his descriptions — a charm that has all the effect of novelty — if indeed it is not. A marked peculiarity of the author is the Irishy abandon or neck-or-nothingness of his manner. He writes as if he held it a sin to keep us waiting a moment — either for grammar or any thing else ... But [page 640:] all this is hypercriticism: — the book is an admirable book, and Mr. Headley is an admirable man (BJ, II, 387).

Find whatever fault we may with his, doubt his facts, denounce his grammer [[grammar]], grow angry over his prejudices, we cannot fail to read whatever he writes, and rising superior to our necessities as reviewers, read on to the end (BJ, II, 75).

... a pregnant example of what may be effected by combined talent and energy. The work is undoubtedly the best property of its kind in America ... The present article is not more remarkable for the lucidity and profundity of its views, than for the vigor, simplicity, and general excellence of its style (BJ, II, 75).

Of the editor of ‘The Merchant's Magazine’ we have more than once expressed our opinion — that he is one of the most remarkable men of his day (BJ, II, 275).

We thank the New York Correspondent of the Cincinnati Courier for his good opinion, although given cum grano salis — but we would thank him at the same time to stick to the truth. He is right only in the proportion of one word in ten (BJ, II, 79).

In the last B. J. he (Poe) has accused me of plagiarism and misquoted Wordsworth to sustain his charge. ‘Armour rustling on the walls, On the blood of Clifford calls’, he quotes, italicising rustling as the point of resemblance. The word is really ‘rusting’ — you will find the passage in Wordsworth's ’Song sung at Brougham Castle’, &c. My metaphor was drawn from some old Greek or Roman story which was in my mind a which Poe, who makes such a scholar of himself ought to have known ... Any one who had ever read the whole of Wordsworth's poem would see that there was no resemblance between the two passages.(1)

Mr. Lowell's poem, ‘To the Future’, has a noble commencement, and is altogether a noble composition — although in the last stanza is a plagiarism — e.g. ... This is Mr. L's — but Wordsworth has either the following lines, or something resembling them — for we quote altogether from memory ... Except in its versification er. Lowell has by no means improved the idea of Wordsworth — although 'self-clanging’ has great force (BJ, II, 88).

The small cuts are without exception excellent, send many of them are not only admirable as mere specimens of wood engraving, but, as designs, belong to the highest class of art ... The heads of the prophets are full, of force and character. There is evidently no falling off in any portion of this enterprise (BJ, II, 89).

This volume is put forth anonymously, and has no preface ... It may be, however, the work of Mrs. Kirkland. At all events it is the work of some woman of very bold and vigorous intellect possibly of Mrs. Child or Miss Fuller. Its propositions speak for themselves. The design is to ... The work is lucidly, earnestly, and vigorously written; and we recommend it to all readers sufficiently unprejudiced not to mistake ardor for folly — the enthusiastic for the visionary (BJ, II, 90).

Of course we shall not say a word in commendation of the truly great author of ‘The Intellectual Powers’ (BJ, II, 90).

Mr. Willis, in one of his late Letters to the ‘Mirror’, has said a good deal which may serve to excite interest in Martin Farquahar Tupper. The only point about which the author of ‘Melanie‘(1) is deceived is the age of the author. Mr. Tupper, we believe, is a much older man then Mr. W. supposes him. His talents, however, are scarcely overrated. ‘The Crock of Gold’ is a simple, picturesque story ... The style is terse, succinct, and often sketchy. The narrative is skillfully managed, and frequently rises into what the critics now and then call ‘power’ ... (BJ, II, 90). [page 643:]

A work full of the most authentic information, and acute remark ... We feel that we need say little about this volume — for it will be purchased and read by all who wish to keep up with the science of the day, or who have any claim, even, to be regarded as ‘general readers’ (BJ, II, 90).

In alluding to an article, by ourselves, contained in the latter Magazine,(1) the Gazette says in substance: ‘Mr. Poe, however, is one of those who can never find any thing to admire in any thing written by Mr. Longfellow’. How this is doing us the grossest injustice — and this no one better knows than the inditor of the accusation (BJ, II, 93).

The PROOF READER of the August number of Godey has made us say of Mr. Lowell's ‘Conversations’ what indeed we should be very sorry to say, vizi: ... By the omission of a dash, this pare-graph was made part and parcel of our commentary on Mr. Lowell, to whom it had no reference whatever (BJ, II, 95).(2)

If this is not a plagiarism, and a very bold one, on the part of Professor Longfellow, will any body be kind enough to tell us what it is? (BJ, II, 103; H, XII, 233).

Week before last we had some general comments on Hood's genius and peculiarities, and gave a detailed account of the contents of Part I of his writings, as republished in the ‘Library of Choice Reading’ ... Its effect arises from the grotesquerie reach, in our previous article, we referred to the vivid Fancy of the author, impelled by hypochondrissis (BJ, II, 104; H, XII, 234).

In the genius of Hood is the result of vivid Fancy impelled, or controlled — certainly tinctured, at all points, by hypochondriasis (BJ, II, 72; H, XII, 217). [page 645:]

We have so frequently spoken in the warmest terms of admiration, of the brilliant and versatile abilities of Mr. Willis, that there is really nothing left for us to say ... We look upon Mr. Willis as one of the truest men of letters in America. About him there is no particle of pretence. His works show his fine genius as it is. They convey the man. Whatever idea is gleaned of him through his books, will be confirmed upon personal acquaintance ... (BJ, II, 104; H, XII, 234-5).

We have not read this novel so carefully as we could wish — but shall do so and speak of it hereafter. Some na“sages are written with power. I. Willmer Dallam is perhaps a nom de plume (BJ, II, I04).

This work proceeds with undiminished spirit. We repeat that it is by far the best Bible ever published in America. (BJ, II, 104).

Upon the whole it is the most magnificent Bible ever put to press (BJ, II, 90).

Of this number of the library we said a few words in our last, but we shall be pardons for referring to it again ... Had we seen this piece(2) before penning our first notice of Hood, we should have had much hesitation in speaking of Fancy and Fantasy as his predominant features (BJ, II, 119-20; H, XII, 235-6).

This volume contains some two or three papers which are worth preserving — which have in them the elements of life — and which will leave a definite end perhaps a permanent impression upon every one who reads them ... The tone is not that of a bold genius uttering vigorous things carelessly and inconsiderately, with contempt or neglect of method or completeness, but rather that of a naturally immethodical and inaccurate intellect, making; a certain air of ruggedness and insouciance the means of exalting the commonplace into the semblance of originality and strength. Hunt has written many agreeable papers, but no great ones. His points will bear no steady examination ... As a [page 647:] critic he is merely saucy, or lackadaisical, or falsely enthusiastic, or at best pointedly conceited. His judgment is not worth a rush ... In this condition we require repose — which is the antipode of the style of And since for the ennuye he has insufficient stimulus, it is clear that as an author he is fit for very little, if really for anything at all (BJ, II, 120-1; H, XII, 237-8).

We take it for granted that there are few of our readers unacquainted with the great celebrity of these Lectures, or with the high estimation in which they are held by the historical scholars of Europe. We feel called upon, therefore, to say only a few words of the book (BJ, II, 121).

This volume is so well known, and so thoroughly appreciated, that we need only call attention to the issue of an improved edition (BJ, II, 121).

As a matter of course we find Mr. Simms agreeing with ourselves, “The Democratic Review’, and in fact with all the unprejudiced critics of the country, in condemning, nearly altogether, the very mediocre poems of Mr. Lord (BJ, II, 121).

It is difficult to avoid enthusiasm while speaking of these admirable plates. The edition should be in the hands of every one who reads — or sees (BJ, II, 121).

Captain Marryatt is not surpassed by any writer of this age in the faculty of interesting the youthful mind. These two neat duodecimos are full of entertainment ... (BJ, II, 12I).

The story is quite celebrated. It is full not only of romantic but of religious interest (BJ, II, 121).

Neither ‘The Florentine Histories’ nor Niccolo Machiavelli need be commended by us. The author of ‘The Prince’ was a man of profound thought, of great sagacity, of indomitable will ... He has been grossly maligned, not because misunderstood in himself, but in his relations to his age and countrymen. The ‘Florentine Histories’ show his great powers — but not in their clearest light (BJ, II, 121-2).

... some important improvements of which we may take occasion to speak more fully hereafter: — as also of his ...

Mr. Simms has a Mesmeric sketch, rather overstrained ... Mr. Godey maintains and will maintain his ground (BJ, II, 122). [page 649:]

‘The Vestiges of Creation’ is slashingly condemned. The reviewer says ... These opinions are just. The ‘Vestiges’ is merely a well-written and very suggestive romance; — but bad English does not look well in a quarterly, and ‘hurts our better feelings’(1) (BJ, II, 122).

We shall speak of it, in detail, as it proceeds (BJ, II, 122).

For September, was received at so late a day, that we are unable to do it justice this week. We shall recur to it. It looks well (BJ, II, 122).

We ourselves have had the honor of being pirated without mercy ... we have written paper after paper which attracted no notice at all until it appeared as original in ‘Bentley's Miscellany’ or the ‘Paris Charivari’. The ‘Boston Notion’ once abused us very lustily for having written ‘The House of Usher’. Not long afterwards Bentley published it anonymously, as original with itself, — whereupon ‘The Notion’, having forgotten that we wrote it, not only lauded it ad nauseam, but copied it in toto (BJ, II, 125).

A very pretty poem, which (unfortunately for us) we did not write, appears in Wednesday's ‘Tribune’ with the initials E. A. P. appended (BJ, II, 126).

We thank the New-York Correspondent of the ‘Cincinnati Gazette’, for the gentlemanly tone of his reply to some late pettish comments of our own. We say only a portion of one of his letters. Had we seen more, we should have at onto, through the precision and purity of his style, have recognized a friend (BJ, II, 126). [page 650:]

That Professor Wilson is one of the most gifted and altogether one of the most remarkable men of his day, few persons will be weak enough to deny. His ideality — his enthusiastic appreciation of the beautiful, conjoined with a temperament compelling him into action and expression, has been the root of his preeminent success ... In a word, Professor Wilson is what he is because he possesses ideality, energy, and audacity, each in a very unusual degree ... It is sheer audacity, however, to which, perhaps, after all, he is the most particularly indebted (BJ, II, 136).

No man of his age has shown greater versatility of talent, and few, of any age, richer powers of imagination ... His high animal spirits give a dashing, free, hearty and devil-may-care tone to all his compositions — a tone which has done more towards establishing his literary popularity and dominion than any single trait for which he is remarkable (GM, XX, 72).

He is no analyst ... His criticisms are emphatically on the surface — superficial. His opinions are mere dicta (BJ, II, 136).

His tone is often flippant ... His analysis ... is nevertheless deficient ... In short, the opinions of Professor Wilson can never be safely adopted without examination (GM, XX, 72).

It is a composition which delights through the low of its imagination, but which repels comparatively of course; through the niaiseries of its general conduct and construction ... He persuades — he bewilders — he overwhelms — at times he enrages — but there has been no period at which he ever demonstrated anything beyond his own utter incapacity for demonstration (BJ, II, 136).

This is the more strange, since ‘Festus’ is, beyond question, a poem of the most remarkable power, and since, in general, we are ludicrously on the alert to catch the echoes of the British opinion in respect to even the most nonsensical books. We shall speak of ‘Festus’ hereafter, at length, as its peculiarities deserve. At present, we have read it only in snatches ... Horne, the author of ‘Orion’ (no common nee and no common poem) ... This sanest happily convoys much of ‘the prevalent tone of the whole poem — its imperiousness — its egotism — its energy — its daring — its ruggedness — its contempt of law in great things and small (BJ, II, 136-7).

‘The New York Evangelist’ ... has a strongly condemnatory review of ‘Festus’ frcsra which we quote a few passages, without altogether acquiescing in the opinions expressed (BJ, II, 341).

... an interesting, although by no means powerful story of ordinary life ... greatly praised by the [page 652:] more decorous and influential of the British journals (BJ, II, 137).

We give the full title as conveying the best possible idea of the book. This title and the name of Mrs. Hall are all sufficient assurances of its excellence (BJ, II, 137).

The Preface is, in its way, a model of good writing, and this is saying a great deal — for Prefaces are difficult things, not to write — but to write well (BJ, II, 137-8).

For these comments on the performances at the Park we are indebted to our musical editor. [page 653:] In especial, we see no necessity for reconciling the inconsistencies of Pauline — ed. B. J. (BJ, II, 138, ftn.).(1)

Of all the British essayists Charles Lamb is the most original — if we may be permitted to use comparatively a purely positive term. He is the founder of that school in which Douglas Jerrold and Cornelius Webbe have been the most successful disciples — aped at second hand, or at twentieth hand, by the William A. Joneses of our own continent — a set of litted people, who, wriggling hither and thither like the entozoa, grow fat, like theta, on the substance of Alien brains. Of all original men, too, Lamb, we think has the fewest demerits. Of gross faults he has none at till. His merest extravagances have about them a symmetry which entitles them to critical respect (BJ, I1, 151). [page 654:]

Mr. Jones is what may be termed an ‘elegant’ essayist of a by-gone School. His articles are always graceful, pointed, gentlemanly in thought and tone. They lack vigor, originality, and consecutiveness. They leave no definite impression. (BJ, 1I, 183).

The work consists of twenty-four well-written and instructive essays, which from their brevity and character we may as well denominate sub-sermons or sermonoids (BJ, II, 182).

Who Dow is, we have never yet been able to say. For anything we know to the contrary, he may be our old friend of the United States’ Journal. no have heard hint discourse by the four in a strain very much akin to that of the volume before us (BJ, II, 152).

We have not had an opportunity of reading it thoroughly ... The announcement on the cover is in bad policy and worst taste (BJ, II, 112).

Copying, for example, a little poem of our own called ‘Lenore’, the Chambersburg editor alters ‘the damned earth’ into ‘the cursed earth’. Now, we prefer it damned, and will have it so (BJ, II, 158).

The English treatises, although numerous and comprehensive, are totally unadaptable to our wants. Everything needed is here abundantly supplied. The work is a perfect manual (BJ, II, 167). [page 655:]

We have already noticed in frill the first and second numbers. And now merely repeat the title in full, as the best means of calling attention to the work, and showing its design (BJ, II, 167).

We give in full the comprehensive title of this work, as the best mode of explaining its design. No. 1 has just b“n issued, at 25 cents. It proceeds (alphabetically) as far as the word BEANS (BJ, I, 75).

She seldom greatly excites, but invariably produces the most agreeable kind of interest ... it is, in many respects, a close imitation of that excellent fiction ’Santo Sebastieno, or the Young Protector’ (BJ, II, 167).

There is only one really bad article in the number, and that is insufferable: nor do we think it the less a nuisance because it inflicts upon ourselves individually a passage of maudlin compliment about our being a most ‘ingenious critic’ and ‘Dross poet’ with some other things of a similar kind. We thank for his good word no man who gives palpable evidence, in other cases than our own, of his incapacity to distinguish the false from the true — the right from the wrong. If we are an ingenious critic, or a prose poet, it is no because Mr. William Jones says so (BJ, II, 168).

... a pungent and discriminating review of numberous late poems — principally abortions — Mr. Lord's among the number ... William Wallace has a noble poem entitled ’Statuary’ from which we venture to make an extract ... (BJ, II, 169).

In our last we noticed Part I of these Essays (BJ, II, 169).

... as broached in a late Magazine paper of our own, entitled ‘Mesmeric Revelation’ ... our sentence ... as we wrote then ... (BJ, II, 174).

The narrative (if such it may be termed)(2) forms merely the upper current of the true theme which flows below. The principal object is that of a suggestive parallel between the present and primitive condition of the [page 658:] Island of Manhattan. A secondary purpose is that of gossip about New York localities and customs — especially those appertaining to the terrae incognitae of remote districts, such as the East Bowery (BJ, II, 177) ;

The most obvious design is to gossip, or rather give voice to under-toned comments about the condition of the Island of Manhattan, and, more especially, of the great city which oppresses its Southern end. A less superficial purpose is that of contrasting the present condition with that under the aboriginal dynasty — of contrasting, apart from conventionality, the true values of the savage and the civilized state(1) (GLB, ???,??? ; H, XIII, 74).

The book, upon the whole, does great credit to its author. The conception is forcible and unique ... the style ... original. The great defect of the work is indefiniteness. The design is not sufficiently well made out (BJ, II, 178) ;

Upon the whole, Mr. Mathews has written an ingenious, an on -rival, end altogether, an excellent book ... Its chief defect is a very gross indefiniteness, not of conception, but of execution (GLB, ???,???; H, XIII, 77-8).

A remarkably nervous, logical, and (to our minds at least) convincing book ... This is a serious charge — and not more serious than true (BJ, II, 178). [page 659:]

If are regard only our dondeption of the word ‘Republic’, we shall find his title a misnamer ... It is, indeed, a noble composition, replete with learning, thought, and purest classicism. If deficient at all, it is in vigor — it has more of the Ciceronian character than pleases ourselves individually. It was written in the senility of of [[sic]] its author (BJ, II, 178).

We repeat the full title by way of most readily describing the work (BJ, II, 178).

The title fully conveys the general design ... The reflections on the political relations ... are if not profound, at least acute ... By way of instancing the general manner of the book ... (BJ, II, 178).

... many important omissions as well as redundancies. In the American edition (now issued) the former are supplied and the latter avoided ... The articles omitted are merely ephemera never meant for preservation ... of the English edition, in which the main object seems to have been the making of a book sufficiently bulky to sell at a certain price (BJ, II, 179). [page 660:]

The story is one of intense pathos, and the greater portion of it is absolutely true ... (BJ, II, 179).

We observe that a poem entitled ‘The Ocean’ is printed anonymously. It is a beautiful lyric, and its author should be known — J. Augustus Shea, lately deceased (BJ, II, 179-80).

As a poet his reputation was high — but by no means so high as his deserts. His ‘Ocean’ is really one of the most spirited lyrics ever published (BJ, II, 110).

... his work on the Inductive Sciences is universally regarded as of the very highest authority ... he work can hardly fail to become a text book in all our colleges and higher schools ... (BJ, II, 150).

In our notice last week of an article on ‘American Humor’ by Mr. William Jones, we mentioned ... (BJ, II, 183).

In a recent number of our Journal we spoke of Mr. Simms as ‘the best novellist which this country has, upon the whole, produced;’ and this is our deliberate opinion ... Mr. Simms has exercised a very remarkable influence upon the literature of his country ... nor do we regard this influence as in any degree the less important because a Mr. William A. Jones’ regards slightingly the mass of his romantic and poetical efforts’ (BJ, II, 190-1).

Mr. Jones ‘regards slightingly the mass of his romantic and poetical efforts’ — the romantic and poetical efforts of decidedly the best novelist which this country has ever yet, upon the whole, produced (BJ, II, 188).

Since our last number, in which we announced the issue of this beautiful little work ... It is admirably written and well adapted to its end (BJ, II, I92).

We give the titles of the several sermons, as the best way of conveying, in brief, the character of the boot. (BJ, II, 192). [page 662:]

This is a judicious attempt on the part of Mr. Brooks (no less dintinguished as an imaginative and graceful poet than by his classical acquirements) ot [[to]] restore the Latin Grammar of Dr. Ross to the position it once held ... There can be no doubt that the book, in its original form, had many demerits (BJ, II, 192).

well known as a terse and vigorous writer, as well as a poet of much absolute power and refined taste, has lately been rendering substantial service to education, by preparing a series of works for the use of schools and colleges (BJ, II, 408).

‘North's Specimens of the British Critics’ is continued in a paper replete with coarse malignity, and the customary Wilsonic rant (BJ, II, 192).

His magazine has about it a ‘keeping‘„ a consistency, which is one of the secret indications of long and prosperous like ... ‘that has become of firs. Osgocd’ Her papers were wont to be the charm of the ‘Book’ (BJ, II, 193).

Mrs. Osgood furnishes ’ Leonora L‘Estrange’, one of her invariably graceful compositions. We purloin from it an epigrammatic song ... (BJ, II, 193). [page 663:]

looks and speaks remarkably well. Its papers are all pointed and forcible ... There is a searching review of Hirst's Poems — a good thing for everybody but Mr. Hirst: — this is a very laughable article ... also exceedingly pungent ... ‘The Aristidean’ is, upon the whole, an admirable journal, and will do good service (BJ, II, 193).

It is not to be classed with the Cracula, find Napoleon-Books of fate, but is a straight-forward analysis and exposition of the science of astrology (BJ, II, 193).

Not long ago we ourselves pointed out a series of similar inanities in his review of Miss parrot's poems ... (BJ, II, 199).

In a very complimentary notice, by Miss fuller, of ‘Tales of Edgar A. Poe’ ... We bow to the well-considered opinions of Miss fuller, whom, of course, we very highly respect — but we have [page 664:] in vain endeavored to understand, in these cases, the grounds of her objections (BJ, II, 200).

We do not remember having before seen any one poem of the collection. They are bit no means impressive. The subjects, generally, are such as find favor in boarding-schools ... Some of them, from their character, have no right to the title of poem ... In the minor merits Miss Edmond is not particularly deficient ... but in the very first sentence of the Preface there is an ambiguity which, in a second edition, should be cleared up ... Now a poetical contribution, so offered„ presupposes in the author only about the ten thousandth part of what Miss Edmond (no doubt through mere grammatical inadvertence) has maintained it to presuppose (BJ, II, 210).

Of the first series of the Table-Talk we spoke so fully in a previous number, that it will be needless to say anything of the second — which is, of course, a continuation. In lieu of any convents from ourselves, therefore, we make a quotation of some length, on a topic of deep interest treated as only Hazlitt could treat it (BJ, II, 217).

... had access ... to the most authentic sources of information ... And unmistakable air of candor pervades every page, sad the accuracy of detail suns to be self-demonstrated. The manner is exceedingly good (BJ, II, 212).

Force and novelty abound, and we are never permitted to doubt the honesty of the narration, but there is a slight tinge of the Whimsical about the book which may operate, in the first instance, to prevent a very general appreciation of its nerita — which are undoubtedly great ... his more English, which is loose and uncouth to a very reprehensible degree ... The whole paragraph is awkward in the extreme. But happily the value of the book does not depend upon such trifles as these (BJ, II, 212).

His great merit is that he does not plunge in media res ... He presupposes no knowledge on the part of the beginner ... speak feelingly on this subject; for we have felt the thousand difficulties and ambiguities of other grammars, which have been written by good Germanists, certainly, but, at the same time by indifferent metaphysicians. — To instruct, demands a thorough metaphysical education (BJ, II, 212-3).

We give the full title to show the design of the work; which is all that it professes to be — and a little more (BJ, II, 213).

Miss Pickering has written some of the most praiseworthy and popular novels of the day (BJ, II, 213). [page 666:]

We have seen nothing of the kind so good ... The editor's well-known tast [[taste]], especially in dramatic matters, should answer for the fidelity and success of his labors (BJ, II, 213).

... we are too Much pressed for space to do more, just now, than recommend to the especial attention of our readers the papet (sic) entitled ‘Who are our National Poets’ (BJ, II, 213).

contains a very condemnatory and in our opinion a very just review of ‘Poems by William W. Lord’ (BJ, II, 213).

To Mrs. Hewitt's beautiful book, in especial, we shall attend very particularly in our next (BJ, II, 213).

We are not preparing, to publish our Tales in England ... We should call the book ‘The Gold-Bug and Other Tales’ ... (BJ, II, 216-7).

In our notice of this work, a week or two since, we promised a quotation, by way of instancing the author's very peculiar style and tone. We proceed now to redeem our word ... These passages are, perhaps, as idiosincratic (sic) as any in the volume (BJ, II, 227).

This is a book we may safely take on our faith in the good taste and discretion of the American editor. He has been a diligent laborer in the vineyard of old English Literature for many years; and we have no doubt he has a sincere pleasure in seeing the public coming round to the manlier standard of the earlier writers. — They are from the picked greatness of English prose; the beauty, the vigor, the spirit and breadth of the old giant-race of authors, who were men and wrote for men. They have no fear, but a full faith in the generous fecundity of nature, and team on every hand with expression and truth and life ... At some other day, when our pages are less crowded, it will give us pleasure to spread some of these choice selections before our readers — if they are not before us by resort to the publishers, and a mastery of the whole feast in advance of our grudging convenience (BJ, II, 227-28).

If we say that this book is evidently written by sensible, discreet, judicious woman, ere indicate all its best properties as well as though we dwelt on it through a dozen pages ... It indicates in various passages a greater knowledge of life, in its actual out-of-door struggles, then generally fills to those who can write with such lady-like propriety and refinement ... Constant purchasers as such books are likely to command, and a few copyrights like this, well deposited in the hands of liberal publishers, should be an estate for the gentle worne (sic) (BJ, II, 228). [page 669:]

... published in Boston ... provincial preferences ... is singular example of this occurs in the present number, where an unfavorable notice of e New York author is picked out of many favorable ones, and a favorable notice of a New England historian is picked out of many unfavorable ones (BJ, II, 227).

... it will include the leading, classic works of the Foreign languages, both ancient and modern — the latter being a new and important feature of the undertaking — with such works of miscellaneous literature as may be worthy of a permanent place(1) in the Library. The first numbers will be Bensenerto (sic) Cellini's Memoir ... which Horace Walpole pronounced ‘more amusing than any novel (sic) ... We shall have more to say of the plan and the books hereafter (BJ, II, 228).

Horace Walpole has done, indeed, but feeble justice to these Memoirs, in calling them ‘more amusing than any novel’ he knew (BJ, II, 257).

We have called attention under the Dramatic head, to the appearance of Mr. MURDOCH at the Park Theatre, next week (BJ, II, 232).

... so that the opinion are have long entertained that poetry was destined to life its fair front, next in America, in new and attractive forms, will not be defeated by the absence of popular sympathy or a want of a disposition on the part of our publishers to further its approaches towards the public (BJ, II, 232).

We are not sure but that the first form in which our Literature is to triumphantly(1) vindicate itself will be that of dramatic writing. There will be and has been exceptions, in single productions in other departments: But we are not sure that the first school to rise will not be the dramatic (BJ, II, 232).

We look for the prosperity of the drama here, at home. The hope of the drama is as great — greater according to our notion — here in New York and in America than anywhere on the face of the globe; and are venture to predict that a school of dramatic writing, and a succession of performers, eminently national, having the color of the climate and the heart of the people in them, will are long appear. We look toward the drama, therefore, as a four in which the national spirit shall early shorn itself, with great anxiety. We are determined to watch its promise, and to give it every aid in our power (BJ, II, 232).

Permit me to tell you how much your vary, very kind and encouraging notice of my volume gratified me. The Broadway Journal was the Seylla and Charybdis of my fear, and its editor's criticism more to be dreaded than that of fifty Blackwoods. Judge then of the measure and quality of my delight on finding that I had parsed the strait in safety.(1)

With this number, it will be seen, that we assume the sole control (proprietary as well as editorial) of the ‘Broadway Journal’. May we hope for the support of our friends? (BJ, II, 248). [page 672:]

... may I beg you, therefore to pardon my seeming discourtesy in not sooner thanking you for your sweet poem ... (1)

All men of letters agree that the Autobiography of Cellini is one of the most interest books ever written. It could not fail to be so — Cellini having been what he was, and having seen what he saw ... He felt keenly — in fact his excessive sensibility amounted to madness ... (BJ, II, 257).

We are pleased to see the word ‘Melange’, as a general title, supplanted by the more sober ‘Miscellany’. We should speak English in all cases where there is no sufficient reason for speaking anything else (BJ, II, 257). [page 673:]

The character of Alfieri, with more of passion and more of fierte, resembled very remarkably that of Benevenuto (sic) Cellini. His impulsiveness not less than his genius made him what he was — a great man. His ‘mission’ (to use a cant term) ... (BJ, II, 258).

This is the best work of its author — and, in its peculiar way, unsurpassed (BJ, II, 258).

An unanswerable exposition of the evils of Tobacco — but do these manifest evils really need an exposition? (BJ, II, 258).

... the designs are a treasure. It is difficult to conceive anything more bold — striking original (BJ, II, 258).

Her style is notes? for accuracy, purity, and freedom from superfluity (BJ, II, 258).

Its papers are even unusually pungent (BJ, II, 258). [page 674:]

The only objection to this theory is that we never go into the woods (for fear of owls) and are quite sure that we never saw a live Indian in our lives (BJ, II, 4263);(1)

We have been much interested in this volume, and shall take occasion to speak of it fully hereafter ... (BJ, II, 274).

Its comprehensiveness is especially notable; but the author is sadly in error, we thank, in supposing that Latin Prosody, any more than Latin Syntax, can best be studied in Latin Rules (BJ, II, 274). [page 675:]

It is very full in the way of annotations (BJ, II, 274).

It is written as Mary Howitt invariably writes — well (BJ, II, 275).

We have repeatedly called attention to the marvellous cheapness of this edition (BJ, II, 276).

... the most authoritative medical serial in existence (BJ, II, 275).

... one of the most interesting biographies ever written (BJ, II, 275).

Of the editor of ‘The Merchant's Magazine’ we have more than once expressed our opinion that he is one of the most remarkable men of his day; and we have now lying by us an articles from the pen of Willis which speaks very much to the same purpose. There is not one of our readers who will not forgive us for quoting it ... (BJ, II, 275).

... is even unusually rich — containing some of the most forcible Magazine papers we have ever (sic) seen ... a queer article on ‘American Poets’ (BJ, II, 276).

is really beneath notice and beneath contempt. And yet this work was, at one time, respectable. We should regret, for the sake of New York literature, that a journal of this kind should perish, and through sheer imbecility on the part of its conductors (BJ, II, 276).

Nearly every paper which comes to us has same cavil at American books, while the least particle of pretence is nourished and hugged and lionized, if it only come from some foreign Timothy Twiddle-thought. It would be amusing were it not contemptible ... This is all nonsense — as usual with the ‘Express’. No man is freer from Tennysonism, or any other ‘ism’ than Wallace. We presume the Express alludes to ‘mere’, the common property of mankind (BJ, II, 278-9). [page 677:]

The general arrangement and spirit of the book are extremely creditable to Mr. Lester, although there are certain defects and blemishes, which we regret to find marring the volume. One of these is the inharmonious and inartistical union, in the same volume, of two subjects with so little to connect thcm ... To the style of the work ... We might take some exception, in an extreme colloquialism, which, although not offensive in the eagerness of a first reading, will injure it as a permanent record ... On the whole, we are pleased with this work, in the part we have given our attention to, (of the other portion of it we may speak at length hereafter) and believe it will be of service in its province (BJ, II, 287).

a thousand sheets per hour, and steamboats and railroads been ready to blaze its issues through the country ... the whole face of its Literature would, according to all ordinary modes of calculation, have been changed, and would now present the aspect of a Jupiter rather than an Adonis ... We have tinkled in the minor key, jingling our ten feet and [page 678:] keeping close to our regular measures with the painful pertinacity of the droning minstrel of the streets ... assuaging and nullifying even in our copies of these better spirits, strength and manhood and manly earnestness down to a poor piping treble (BJ, II, 286).

They speak the sorrow and the belief, the joy and the agitation of their times, like men. They dip their pens in the very life-blood of humanity, and write so as to stir the lifeblood ... These genuine words of theirs cutting their way through all of war, and darkness and discordant history that stands between, reach the present day, and with a vital fire come home to our hearts ... (BJ, I1, 287).

We repine, we confess, at the taking down of this book from our shelf, (it has been the dear companion of many joyful years,) and leading it out into the market place. But as we hope for many sharers, through it, in our old and longtime enthusiasm for the Elders — we admit that our fell-grief be made common, and that all mankind be let in to ‘joy in our joy, and sadden in our sadness’ (BJ, II, 289).

We made but scant mention last week of this interesting work (BJ, II, 289).

Among its earliest indications was the reception of the new comedy ‘Fashion’ (to which we cannot altogether give our critical approval ...) ... (BJ, II, 290). [page 679:]

If a dirty fellow will brush against a gentleman, the gentleman will be mistaken for a dirty fellow, and in this way vulgar and malevolent critics vilify pure authors. Just censure is one thing, and this wholesale abuse is another. It is very possible that a practiced knight of the quill might prick Dr. Cheever gracefully, and the public might be gratified at the spectacle, for the public loves to see an author tickled; but the public requires this spiriting, to be done ‘gently”, and has no affection for the weapon of fish-women or scavengers, clerical or otherwise (BJ, II, 292).

Its commendable features are candor, evident desire for truth, freedom from prejudice, comprehensiveness, and masterly breadth of generalization ... Were we to say, in round terms, that Professor von Raumer has set forth with accuracy not one fact in relation to American letters, we fear that we should not be very far from the truth ... Of the ‘propriety’ we are not prepared to speak — and the ‘dignity’ will do — but the ‘moderation’ (so far at least: as concerns the Down-Last Review) must have reference to the applause or attention bestowed upon these insignificant individuals who have the misfortune to reside out of the limits of Massachusetts ... He is not in condition to consider or to comprehend the innumerable petty arts by which, in America, a dexterous quack(2) may force even the most contemptible work into notoriety and circulation (BJ, II, 321).

... an exceedingly able book — far better, we think, than the ‘Natural Magic’ of Brewster — a book of identical purpose carried out in a totally different way. The ‘Natural Magic’ is the more ratiocinative — Mr. Dendy's essay the more poetical, the more imaginative, and to us the more interesting(3) (BJ, II, 321). [page 681:]

The style of this ‘Tour’ is particularly French — there is no other word for the idea. We find a great deal of point, vivacity, wit, humor, archness, novelty — the whole pervaded and ‘toned down’ by a delicious simplicity ... His ‘Notre Dame’ is a work of high genius controlled by consummate art (BJ, II, 321).

This is also a translation ... We need scarcely add that the work is of interest — for it concerns ‘The Great Conde’, and is written by Mahon (BJ, II, 321-2).

Some of her fame is, beyond question, due(1) to the kindly and frequent notices of Mr. Willis, but the greater portion of it springs from intrinsic merit ... She is one of our best Magazinists, the very best in her way — and her way would be admirable in all respects but for a slight taunt (sic) of Willisism. Not that we object to Willisism — in Willis (BJ, II, 382).

It is utterly impossible to deny that many of these compositions (sic) have merit of a high order — and, of course, we have no disposition to deny it (BJ, II, 322).

Some person has had the audacity to send us a book thus entitled, with a slip of paper containing the following words ... The intention, of course, is that we shall adopt this opinion as editorial — as our own. We have no such opinion. The book is contemptible at all points ... the detestable vulgarity ... (BJ, II, 322).

... a poet, who (in our own humble, but sincere opinion,) is the greatest that ever lived. We are perfectly willing to undergo all the censure which so heretical an opinion may draw down upon us (BJ, II, 322). [page 682:]

This is also a new edition of a poet much and justly admits in England — and insufficiently appreciated by ourselves. Re may allude to the volume hereafter (BJ, II, 322).

An excellent address, to which we shall refer more fully next week, and from which we shall take the liberty of making some extracts. (BJ, II, 322).

Whatever, in the opinion of the worshipper of Britain end everything British, may be objectionable in the matter of Mr. Mathews’ address, its manner, at least, is simple and unaffected, and we are quite at a loss to discover anything incomprehensible in any portion of the essay (BJ, II, 325).

We scarcely know what to say of this narrative — so as to recommend it with sufficient positiveness to our readers ... ‘Robinson Crusoe’ is not better as a composition, and here we have the additional charm of truth — a truth that cannot be doubted, and which the tone of narration assures us, is not exaggerated in any degree (BJ, II, 322).

is unusually rich in good things (BJ, II, 323).

The FROG-POND seems to be dried up — and the Frogs are, beyond doubt, all dead — as we hear no more croaking from that quarter (BJ, II, 325).

We do not intend to claim the honor of originating in the Journal the exquisite poem, by Halleck, now published (BJ, II, 325-6).

We rejoice that it was completed before the simplicity of his spirit (Carlyle's) had been inverted and corrupted by caprice; before the Fountain of Beauty in his soul had been turned into a turbid vortex; before he appeared a foreign and portentious (sic) shape to his century not to purify — but to bewilder and mislead it ... We can trace here the growth of his faculties (Schiller's) and his progress amidst the struggles and obstacles of his early career; from the time when his 'strong, untutored spirit’ consumed by its own activity, was chafing blindly, like ocean waves, against barriers that restrained it — through difficulties and vexations which only his burning energy of soul enabled him to overcome — up to that calm, intellectual elevation, in the lucid expansion of which he could watch the workings of his imagination, and subject the operations of genius to tho requisitions of taste (BJ, II, 336-7).

We cannot help thinking it the most delightful of all tho writings of Carlyle. It was written before he had adopted the eccentricities and affectations of style, which have obscured so many fine thoughts. ... The translations from the tragedies of Schiller in this volume are very imperfectly executed. It is evident the translator has no ear for rhythm. The literal meaning is given, but the subtle spirit of poetry is lost in the transition from one language to the other. But in the analysis of the plays, and in the just and discriminating criticisms, the reader may be guided safely and most agreeably (BJ, II, 336-7).

had indulged in occasional philosophic surveys, or in comments, suggested by the wild and exciting events he records, such as are expected from every historian who aims higher than a more setting forth of facts — we should have found nothing to desire ... The book is without pretension; we are hurried on, without pause ... Notwithstanding that something is wanting, however, the work is deeply interesting, and a valuable contribution to historical literature (BJ, II, 337).

Mr. Thomas H. Lane is the only person (besides ourself) authorized to give receipts or transact business for ‘The Broadway Journal’ (BJ, II, 339).

The manner in which we are maltreated, of late days, is really awful to behold. Every body is at us — little dogs and all. The littlest of all dogs is perk a^s the ‘Nassau Monthly’ — whatever is the ‘Nassau Monthly’ (BJ, II, 339).

We have given the title in full as the most succint [[succinct]] mode of conveying the nature and purpose of the work ... this able work supplies, in fact, a desideratum whose need has long been felt ... methodical treatise on fibrous substances (BJ, II, 355).

This, the concluding volume of Mr. Lester's entertaining book, has less unity of purpose, but greater variety of incident and anecdote, than the first (BJ, II, 355).

As this work has acquired, with justice, a very extensive reputation, we feel it necessary merely to give its title and call attention to the issue of a now and carefully revised edition (BJ, II, 355).

Who is Harry Hieover? ... Many of the Chapters are equal to the very best of Harry Lorrequer's (BJ, II, 355).

A treatise which cannot fail to do a great deal of good by ... (BJ, II, 355). [page 687:]

We have not yet read this volume so thoroughly as to hazard an opinion of its merits. A glance, however, assures us that the author has a commendable contempt for things in general — very especially for reason and for rhyme (BJ, II, 355).

Mrs. Norton is emphatically the poet of passion — even more so then Byron ... No single poem ever so powerfully, affected us as ‘The Dying Hour’ ... The effect, however, is in no respect a properly poetical one, and the same sentiments, in prose would have produced an intenser passionate effect (BJ, II, 356).

In the present instance we have no hesitation in adopting the opinion as our own — that is to say, we agree with it — but the practice of sending round such circulars is atrocious (BJ, II, 356).

... ‘The North American Review’ — styled by the author, in the preface to the British edition, ‘the most considerable journal in the united States’. We fear that its consideration, at present, is confined chiefly to the precincts of Faneuil Hall ... The first of these articles (on Brown) ... is of unusual interest, conveying a just and forcible picture of one of the most singular and powerful of American intellects. The memoir can scarcely be termed critical, but it abounds in passages evincing the keenest discrimination in respect to the literary position of the author reviewed (BJ, II, 373).

... we cannot conceive what could have beguiled Mr. Cist into the perpetration of such absurdity. The collection is so modestly prefaced as to disarm criticism ... The poems themselves are not particularly imaginative, but evince much purity of taste and fervor of feeling (BJ, II, 373).

... a vivid scene from Crabbe — admirable altogether ... Somewhat rashly taken from ... the composition of which is so remarkably meritorious. In cutting out portions from such a work, there should have been fresh accessories. What admirable in its due position in a large picture, is very often displeasing when taken by itself, or merely with the points immediately surrounding it. Here is something exceedingly piquant and naive (sic) (BJ, II, 374).

We have twice before noticed ‘The May-flower’, but, while we are on the subject of Annuals, we cannot refrain from once again calling attention to its merits (BJ, II, 374).

Mr. Cooper in an Editor's preface, says very seriously ... The author (real or suppositous [[suppositious]]) says afterwards in her own preface ... All which only makes it apparent to our mind that Mr. Cooper is both author and editor. The names as well as grammar, throughout, are exceedingly Cooperish — and the dialogue is especially so. The narrative is one of much interest (BJ, II, 374).

The last (by Uncle Davy) may be by Humphrey Davy, or his ghost, for anything that we know to the contrary, but with a fund of accurate chemical information, it contains some unusually loose grammar ... We will put this sentence (punctuation and all) against anything written by Thomas, Carlyle (BJ, II, 375).

... well written, succinct and yet sufficiently comprehensive (BJ, II, 375).

Erratum — In speaking, last week, of Mrs. Osgood's Poems, we used the word anapaestic, when we intended dactylic (BJ, II, 316).

... a poet whom all poets, and whom poets only, ‘appreciate ... It is, as asserted, a complete edition ... rather too complete, perhaps many [page 690:] of the Fragments are utterly destitute of intrinsic value ... The Biographical and Critical Notice by Mr. Foster, is well written, (barring a little justifiable furore), and evinces a keen discrimination, and, very especially, a thorough appreciation ... (BJ, II, 385).

Through neglect, discourtesy, or something else, on the part of somebody, or perhaps of Nobody — we have received no copy of this year's Opal, and have no opportunity, therefore, of speaking of it in full (BJ, II, 386).

We said a few words, last week, of this admirable collection of essays ... (BJ, II, 386).

Man is, in fact, only incidentally a poetic theme: -we mean the heart and intellect of Man — matters which the pseudo-transcendentalists of Frogpondium are perpetually attempting to force into poetry — with no other object them to impart to their doggerel an air of profundity. Mr. Street's subjects are invariably poetical ones — but they belong not to the loftiest order. They are descriptive altogether — not sufficiently ideal (BJ, II, 387).

As a descriptive poet, Mr. Street is to be highly commended ... We demand creation —(1) (H, XVI, 102).

He has made Mr. Bryant his model ... (GM, XX, 46; H, XV, 254).

Mr. Bryant seems to have bean the model ... (BJ, II, 387).

The work itself is sufficiently well known. It has all Mr. Longfellow's distinctiveness of thought and manner — is graceful, scholar-like, at times pointed, and always artistical, but neither original, nor very interesting. Its tone is a palpable imitation of the German spirit. One of its marked peculiarities — and an idiosyncracy, in fact, appertaining to all that the author does — is its entire want of suggestiveness. The book does not go beyond itself. (BJ, II, 387).

It is not the grammatical construction of the sentence, however, but its philosophy to which we allude. When details fail to convey distinct impressions, it is merely because the details themselves are indistinct (BJ, II, 387).

This is in all respects a valuable work — containing some of the most discriminative criticism we have ever read ... Perhaps the most original and judicious of these sketches is that of Godwin — a very remarkable man, and not yet thoroughly understood (BJ, II, 387).

We have not yet had time to read the volume, but a glance assures us that (barring a little Maturinism or Bertramism) they are at least [page 692:] well-written, in the ordinary sense of the phrase. Mr. Maturin, it is understood, is the son of the author of Melmoth — a very powerful book, beyond doubt (BJ, II, 368).

It is in the manner of ‘Chrysal or the Adventures of a Guinea’, and quite as good a book in every respect (BJ, II, 388).

The intention is, beyond doubt, a commendable one — but we cannot help regarding the work as one of supererogation (BJ, II, 388).

Lowell has a poem full of nerve and grace ... We mention in especial, the ‘Proem to the Froissart Ballads’ — although this is strongly tinctured with imitation. For example ... (BJ, II, 388).

... the most decidedly useful of American Magazines ... (BJ, II, 388).

A most valuable work this is — from the intrinsic merit of the letters and speeches it contains, and not from the rhapsodical, really run-mad comments of Carlyle ... We arrays esteemed Cromwell the more for the [page 693:] manner in which he routed that scum of hypocritical rascals, the Rump Parliament. It is a pity for his memory that a man like Carlyle should have engaged in the edition of his letters and speeches (BJ, II, 404).

Dr. Cheever dedicates his ‘book to Richard H. Dens, whom he calls in the dedication, ‘the poet of “Daybreak“’ — why, we cannot for our life conceive. The book itself is Cheeverish — it we may coin a phrase — in extreme (BJ, II, 404).

A work abounding with stirring incidents and some force. The characters are well made out (BJ, II, 404).

The papers are remarkably dull, and the poetry especially bad (BJ, II, 404).

We have already exhausted words of commendation in noticing this really standard and elegant work (BJ, II, 404).

... some especially bold and racy articles ... There is a queer paper-which contains some piquant satire. The article on ‘American Poetry’, is very biting, but, unfortunately, very true ... The book notices are spirited independent ... It is, unquestionably, very original in conception and execution (BJ, II, 404-5).