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the characteristic of energetic sim- or these: (the Lady in Comus speakplicity, -a characteristic which unites ing of her brothers) the two best qualities of language, They left me then, when the gray-hooded strength and artlessness. The tinsel
Even, age (that of Charles 11.) is charac- (Like a sad votarist in palmer's weeds) terized by meretricious superficiality. Rose from the hindmost wheels of Phæbuso It is not easy to conjecture by what
wain : stretch of metaphor the epithet of and still more infrequently with such golden age could be applied to the
as these, where ideas of sense are reign of our “good Queen Anne;" altogether excluded: (Macbeth reits characteristic-elaborate elegance, gretting the effects of his crime) certainly entitles it to no higher
name than the Silver or rather the Plated I have lived long enough : my way of life age. Whether its impudence in call
Is fall’n into the sear, the yellow leaf :
And that which should accompany old age, ing itself the “ Augustan," should As honour, love, obedience, iroops of not mark it as the Age of Brass, friends, may be a question. Finally; Lord I must not look to have; but in their stead, Byron has denominated the present, Curses, not loud, but deep, mouth-honour, the Age of Bronze-but this is said breath, in a general moral respect, not in a Which the poor heart would fain deny, purely literary. If the characteristic and dare not. of Sensuality be rightly assigned, the In a word, modern poetry, as to its Age of Copper would be a more ap- matter, is little more than a huge propriate name,—that being the me- pile of luxurious descriptions; as to tal which denotes astronomically the its lavguage, little else than an imQueen of physical Pleasure.
mense and somewhat confused heap Let' me first explain the term I of glittering periods and richlyhave used, and then adduce the proofs worded phrases, slippery without be that it is rightly applied. Moderning very sweet, oppressing the ear poetry is addressed almost exclu- without ever taking it prisoner. We sively to the senses : its subject-mat- seldom find the memory dwelling on ter consists almost wholly of volup the fall of a modern cadence, or the tuous pictures on which the eye of the chambers of the brain re-echoing imagination may gloat t:ll it grows with the sound of a modern line. dim with the vicious exercise ; of de- Reading a poem of the present day scriptions,-offorms whose toucheven is like floating upon a river of tepid in thought sets the libertine blood on wine, where the fumes and vapours fire, of odours and relishes which de- dull both the senses and the current bauch the mental taste by their inten- scenery: in like manner we glide sity, of sounds too grossly delicious for over a stream of modern eloquence, the ear of fancy to admit without he- without almost thinking of what we coming depraved: The feelings, the are doing, or where we are going; earthly desires, the animal passions, the mind is in such a state of poetical are alone and always the object of inebriation, that the imagery appears appeal; a modern author seldom all confused to the eye, and the landeals in imagery which can be held guage altogether mystified to the ear, as intellectual; we do not often meet the one is dazzling and the other in a work of the present age such is lubricous, but neither is impreslines as these, where there is no- sive: they fleet with the moment. thing of “ sensuous” pleasure an- If we examine the works of the nexed to the images presented: most celebrated poets of the modern (Macbeth reflecting upon the inno- school, Byron, 'Moore, Cornwall, cence of his intended victim) &c.* we shall find ample proof that, And pity, like a naked new-born babe
generally speaking, the character of Striding the blast, or heav'n's cherubim the thoughts and language to be horsed
found there, is such as I have assignUpon the sightless couriers of the air,
ed. The modern Muse is certainly Shall blow the horrid deed in every eye,
endowed with an uncommonly flexiThat tears shall drown the wind :
ble tongue: Hippocrene overflows
I do not mean to incinde such authors as Campbell, Rogers, Crabbe, &c. ; they belong rather to the Silver Age of Poetry.
with a perennial discharge of waters, Worlds mirror'd' in the ocean, goodlier more luxurious than the bee of sight Athens ever sucked through the stem Than torches glared back by a gaudy glass, of the fountain-flowers. I award to
And the great element which is to space the writers of the present day this What occan is to earth spreads its blue praise of splendid fluency, without Soften'd with the first breathings of the
depths, any qualification : if Pactolus had
spring; one of them for his River-god, his The high moori sails upon her beauteous sands would turn sooner to gold-dust,
way, than if all the long-eared kings that Serenely smoothing o'er the lofty walls the world ever worshipped had been Of those tall piles and sea-girt palaces, drowned in his channel. Our poets Whose porphyry pillars and whose costly are not bees laden with sweets, but fronts, jars cheek-full of liquid bullion; Fraught with the Orient spoil of many their lips drop not honey but gold, Like altars ranged along the broad canal,
marbles, and of all these yellow-mouthed Seem each a trophy of some mighty deed, ewers, Byron is the richest :-a most Reard up from out the waters, scarce less prodigal stream of eloquence rolls
strangely perpetually off his tongue, but its Than those more massy and mysterious lustre blinds the eye, its plenty chokes giants the ear, without enlightening or filling of architecture, those Titanian fabrics, the mind as considered distinctly from Which point on Egypt's plains to times the senses. One of the very finest that have specimens of modern poetry is the No other record, &c. following from the Doge of Venice ; Such language as the above may and it is written in a glorious vein of be taken as the characteristic livery eloquence,-but the animal shows its which modern poetry delights to cloven foot all through, the five wear; the spare form of its real suborgans of sensile pleasure alone are stance is perpetually clothed in the titillated, it is sensual, “ morbidly” same rich and redundant, warm and sensual, like all the poetry of the same southerly phrase. Whilst reading it magnificent and loquacious volup- we almost think we are gasping in tuary, and, indeed, of the age : the sultry beams of the lower laThe music, and the banquet, and the wine- titudes, where the scenery is all bloom The garlands, the rose odours, and the and blaze; where every wind
is laden, flowers -
till the back of the sightless courier The sparkling eyes and flashing oma- bends with the weight of odours and
perfume; where the lazy, soft-footed The white arms and the raven hair-the waters creep along their channels, as braids
if they feared to wake the reed that And bracelets ; swanlike bosoms, and the nods till it almost tumbles into the necklace,
stream; and where the air itself is but An India in itself, yet dazzling not a kind of invisible tunic of fur, which The eye like what it circled; the thin robes
we can never put off to breathe freshly
and freely like a roe on the top of our Floating like light clouds 'twixt our gaze and Heaven;
own barren mountains. I do not mean The many-twinkling feet so small and to say, either that our ancient wri. sylph-like,
ters never fell into this Southern meSuggesting the more secret symmetry
thod, or that our present writers Of the fair forms which terminate so well- never deviate from it. Some of the All the delusion of the dizzy scene, wealthiest pictures, in point of imaIts false and true enchantments-art and gery and expression, are to be met nature,
with in Milton and Shakspeare (espeWhich swam before my giddy eyes, that cially the former, whose breath was drank
somewhat less rude and wholesome The sight of beauty as the parched pil- than that of his predecessor); whilst
grim's On Arab sands the false mirage, which
our living poets, and chiefly Byron, offers
sometimes expatiate beyond the mere A lueid lake to his eluded thirst,
bounds of sense, and become specuAre gone :-Around me are the stars and lative poets. Moore also, whose
eloquence is a kind of poetical shower
bath, falling diamonds, and spars, immersed in the shadowy forests of and spangles, upon occasion refreshes the hill, or buried in the dusky and us with a simple flow
of national or perilous vales which intersect it ;even moral sentiment. The passionate never pull their wreaths off the pinsoul of Cornwall, where woman is nacle, but cull posies in swarms off concerned, not unfrequently turns the the sunniest and gentlest declivities, drops which gush unbidden from the where they can pluck as they lie besensual eye, into pure and genuine tween sleep and awake on their lush tears. But, upon the whole, the taste beds of roses and litters of rank and manner, not only of these nobler grass, as soft and luxurious as palbirds of Song, but of all our “ small lets of swans-down or flimsy cocpoets,” all the finches of the modern Byron is almost the only vagrove, whether cock or hen, fledged grant, and that only by starts, from the or featherless,-are decidedly effe- modern walk. One spirit seems to perminate and sensual. The bleak and vade the whole class of living poets, rocky crowns of Parnassus never kiss the spirit of effeminacy: the same grothe sole of a modern slipper: where veling (I must call it) propension to the moss is velvet, and the plats of the soft and beautiful in preference to herbage silky and spongy; where the strenuous and sublime, the same Nature patches her green floor-cloth proneness to wallow in the imagiwith a Turkey grass-carpet,—there nary luxuries of sense, the same glutdo our modern poets amble, with tonous love of everything that can their eyes boring the zenith, till they excite the sensual palate of the mind, sink over the shoes in the
-constitute the moving principle of or are drowned (to make bold with the School of Modern Poetry. Hence, the metaphor) in a flood of waving taking itself as its own evidence, its flowers. They never scale the cliff, characteristic has been rightly, not or are to be seen balancing on the violently, truly, not satirically, asridge of a precipice; they are seldom signed; that is to say-Sensuality.
THE TEMPLARS' DIALOGUES ON POLITICAL ECONOMY.
DIALOGUE THE SECOND.
Reductio ad Absurdum.
[This Dialogue, which seems necessary for the elucidation of the principle advanced in Dialogue I.: did not reach us sufficiently early to be placed in immediate connection with it,—we have therefore thought it advisable to print it here rather than to keep it for another month.]
Phil. X., I see, is not yet come: cause, as I am well satisfied from I hope he does not mean to break what passed yesterday. He'll slaughhis appointment; for I have a de- ter you: to use the racy expression sign upon him. I have been consi- of a friend of mine in describing the dering his argument against the pos- redundant power with which Molysibility of any change in price arising neux the black disposed of a certain out of a change in the value of labor, Bristol youth, he'll slaughter you and I have detected a flaw in it which “ with ease and affluence.” But here he can never get over. I have him, he comes.--Well, X., you're just come Sir, I have him as fast as ever spider in time. Philebus says that he'll had a fly.
slaughter you with ease and affluPhad. Don't think it, my dear ence;" and all things considered I lad: you are a dextrous retiurius ; am inclined to think he will. but a gladiator who is armed with Phil. Phædrus does not report the Ricardian weapons will cut your net matter quite accurately: however it to pieces. He is too strong in his is true that I believe myself to have detected a fatal error in your argu- monstration of it, which I am sure ment of yesterday on the case of the prised that Mr. Ricardo did not use hat: and it is this:-When the value as the strongest and most compenof labor rose by 25 per cent, you con- dious mode of establishing his doctended that this rise would be paid trine. out of Profits. Now up to a certain Let it be possible that the hat may Jimit this may be possible : beyond advance to 198.; or, to express this that it is impossible. For the price more generally, from < (or 188.) of the hat was supposed to be 18s.; which it was worth before the rise in and the price of the labor being as- wages-to x + y: that is to say, the sumed originally at 128.— leaving 6s. hat will now be worth x+y quanfor profits, it is very possible that a tity of money-having previously rise 'in wages of no more than 3s. been worth no more than z. That may be paid out of these profits. is your meaning ? But, as this advance in wages in- Phil. It is. creases, it comes nearer and nearer X. And if in money, of necessity to that point at which it will be im- in every thing else: because otherpossible for profits to pay it: for let wise, if the hat were worth more money the advance once reach the whole 6s. only but more of nothing besides, and all motive for producing hats that would simply imply that money will be extinguished : and let it ad. had fallen in value--in which case vance to 78., there will in that case undoubtedly the hat might rise in be no fund at all left out of which the any proportion that money fell; but seventh shilling can be paid, even then without gaining any increased if the capitalist were disposed to re value, which is essential to your arlinquish all his profits. Now serious- gument. ly you will hardly maintain that the Phil. Certainly: if in money, then hat could not rise to the price of 195. in every thivg else. or of any higher sum ?
X. Therefore for instance in X. Recollect Philebus what it is gloves: having previously been that I maintain: assuredly the hat worth 4 pair of buckskin gloves, the may rise to the price of 19s. or of hat will now be worth 4 pair + y? any higher sum, but not as a conse- Phil. It will. quence of the cause you assign. X. But, Philebus, either the rise Taking your case, I do maintain that in wages is universal or it is not it is impossible the hat should exceed universal. If not universal, it must or even reach 18s. When I say 18s. be a case of accidental rise from mere however, you must recollect that the scarcity of hands : which is the case particular sum of 12s. for labor and of a rise in market value ; and that 6s. for profits were taken only for the is not the case of Mr. Ricardo, who sake of illustration : translating the is laying down the laws of natural sense of the proposition into univer- value. It is therefore universal: but, sal forms, what I assert is that the if universal, the gloves from the same rise in the value of the labor can go cause will have risen from the value no further than the amount of Profits of x to x+ y. will allow it: Profits swallowed up, Hence therefore the price of the there will remain no fund out of hat, estimated in gloves, is =x + y. which an increase of wages can be Aud again the price of the gloves, paid, and the production of hats will estimated in hats, is = x + y. cease.
In other words H-y = x. Phil. This is the sense in which I
H + y = x understood you: and in this sense I That is to say, H-y= H + y. wish that you would convince me Phæd. Which, I suppose, is an abthat the hat could not under the cir- surdity: and in fact it turns out, cumstances supposed advance to 19s. Philebus, that he has slaughtered you or 20s,
with “ ease and affluence.” X. Perhaps in our conversation on X. And this absurdity must be Wages, you will see this more irre- eluded by him who undertakes to sistibly; you yourself will then shrink show that a rise in the wages of labor from affirming the possibility of such can be transferred to the value of its an advance as from an obvious ab- product. surdity: mcantime here is a short de
COVENT GARDEN THEATRE. ment, we look upon it as a very light
Pride shall have a Fall! and happy production. There is a Under the above discreet and little too much of Joe ‘Millera highly moral title, a very successful worthy character in all modern drapiece has been produced, which is mas,--but still discreetly to be treatlikely to amuse the public several ed. The dialogue, ho er, is ever evenings during the season :-It is changing, though not ever new ; called “ Comedy in five acts, with and the characters are brisk epough songs;"-but we should feel ex- to admit of some extremely lively tremely grateful to any kind person acting.—Indeed the author is much who would point out a single scene indebted to Mr. Jones, and the rest which should justify its claim to the of the stud. title of comedy. It has many broad, The plot, which we are assured is bustling scenes of extravagance and not from France, is not very clear. humour ;-do they make the piece It appears rather to be five distinct a comedy ?-It has long passages of portions of plot—for each act might carefully wrought and pleasing blank be played without its neighbour. verse ;-but is comedy a thing of Four Hussars walk about in red trowverse ?-It has songs, glees, and sers and mustachios, and very pleafamiliar old puns,—all agreeable santly keep the five acts connected enough in themselves, but not suf- for, without their costume, and ficient to justify the prologue's “ muffs and meerschaums we might promise of “ a true British comedy!” soon forget that we were travelling or the epilogue's beseeching cant: through one comedy. By the high splendours of our ancient day; All the performers did their duty, By those we've seen, and wept to see, de- and more than their duty. Mr. Con
nor was Irish and chaste,-two very By our-by mankind's Sheridan !—whose rare co-qualities in an Emeraldtomb
islander. Yates too was humorous Is scarcely closed !
and moderate, and really surprised -But no-no thoughts of gloom; us with some very clever acting. He Again comes Comedy ! so long untried !
is the puppy Hussar from curl to Give her your smiles !
boot,-from mustachios to fingerThe newspapers have been puffing, tip! Mr. Farren, in Count Ventoso, as strongly and steadily, as though vented his humours upon the Counthe trade wind of criticism had set tess Davenport with great effect; in; and the consequence has been, and the Countess wheeled about like that crowds have besieged the boxes a baggage-waggon, train and all ! and the pit, and, being amused with Miss Paton sang to the utmost. violent effects, - extravagant charac- To Jones, however, must all praise ters and situations,mand broad dia- be given. He worked up a rattlelogue, new and second hand,-go brained spirit of Palermo to the highhome satisfied at having been satis- est pitch of vivacity. Those who fied, and persuading themselves that have not heard him deliver the folthey have patronised the revival of lowing address to the prisoners, can comedy. The truth is, the present have no idea of effective oratory. piece is as great an outrage upon the Nothing in Covent Garden was ever legitimate drama as T'imour the mouthed more to the purpose. Tartar, or the Cataract, or Frankenstein.It is poor in horses, water,
C'or. Out of the orator's way! Muffs and ghosts, but it has its vices and meerschaums ! vices, which are only vices when
(The Prisoners hift Torronto on a
bench, langhing and clamouring:) set up as singular dramatic virtues. Having thus spoken, our readers ourselves to be molested in our domestic
Tor. (Haranguing.)- Are we to suffer may think we have no very favour- circle ; in the loveliness of our private able opinion of a Pride shall have a lives ; in our otium cum dignitate ? GenFall." ---But looking at it as an agree- tlemen of the jail ! (Cheering. Is not able mixture for a night's amuse- our residence here for our country's good?