some lyrics which touch the sadness and the brightness of life with equal power, do not count in our estimate of him. He perfected the narrative poem. In Marmion and the Lady of the Lake, his wonderful inventiveness in narration is at its height, and it is matched by the vividness of his natural description. No poet, and in this he carries on the old Scotch quality, is a finer colorist. His landscapes are painted in color, and the color is always true. Nearly all his natural description is Scotch, and he was the first who opened to the delight of the world the wild scenery of the Highlands and the Lowland moorland. He touched it all with a pencil so light, graceful, and true that the very names are made for ever romantic." "Looking to the poetic side of his character, the trumpet certainly would have been the instrument that would have best symbolized the spirit both of Scott's thought and of his verses. His is almost the only poetry in the English language that heats the head in which it runs, by the mere force of its hurried frankness of style, to use Scott's own terms, or by that of its strong and pithy eloquence, as Campbell phrased it. Scott prefers action itself for his subject to any feeling however active in its bent. There is no rich music in his verse, it is its rapid. onset, its hurrying strength which fixes it in the mind. Marmion was composed, in great part, in the saddle, and the stir of a charge of cavalry seems to be at the very core of it. The hurried tramp of his somewhat monotonous metre is apt to weary the ears of men who do not find their sufficient happiness, as he did, in dreaming of the wild and daring enterprises of his loved Border-land."-Richard H. Hutton. CAMPBELL. Scotland produced another poet in THOMAS CAMPBELL. His earliest poem, the Pleasures of Hope, 1799, belonged, in its formal rhythm and rhetoric and in its artificial feeling for Nature, to the time of Thomson and Gray rather than to the newer time. His later poems, such as Gertrude of Wyoming and O'Connor's Child, were far more natural, but they lost the superb rhetoric so remarkable in the Pleasures of Hope. Campbell will chiefly live by his lyrics. Hohenlinden, the Battle of the Baltic, the Mariners of England are splendid specimens of the war poetry of England; and the Song to the Evening Star and Lord Ullin's Daughter are full of tender feeling, and mark the influence of the more natural style that Wordsworth had brought to perfection. ROGERS AND MOORE.-SAMUEL ROGERS is another poet whose work is apart from the great movement of the Revolution. In his long life of ninety years he produced two octavo volumes. The Pleasures of Memory, 1792, his first poem, links him to the past generation and has its characters. later poems, added to it in 1812, and the Italy, 1822, are the work of a slow and cultivated mind, and contain some labored but fine descriptions. The curious thing is, that, living apart in a courtly region of culture, there is not a trace in all his work that Europe and England and society had passed during his life through a convulsion of change. To that convulsion the best work of THOMAS MOORE, an Irishman, may be referred. Ireland during Moore's youth endeavored to exist under the dreadful and wicked weight of its Penal Code. The excitement of the French Revolution kindled the anger of Ireland into the rebellion of 1798, and Moore's genius, such as it was, into writing songs to the Irish airs collected in 1796. The best of these have for their hidden subject the struggle of Ireland against England. They went everywhere with him into society, and it is not too much to say that they helped by the interest they stirred to further Catholic Emancipation. Moore's Oriental tales in Lalla Rookh are chiefly flash and glitter, but they are pleasant reading. He had a slight, pretty, rarely true, lyrical power, and all the songs have this one excellence, they are truly things to be sung." BIBLIOGRAPHY. CAMPBELL.-Redding's Lit. Reminis. and Memoirs of; Chambers' Papers for the People; Hazlitt's Spirit of the Age; W. Irving's Spanish Papers and other Miscel.; Ward's Anthology; Ecl. Mag., March and May, 1849; July, 1851. MOORE.-Russell's Memoirs, Journal and Cor. of; Ward's Anthology; Bent. Miscel., Apr., 1852; Black. Mag., vs. 71 and 72, 1852; Ed. Rev., v. 99; Ecl. Mag., v. 26, 1852, and 28, 1853; N. A, Rev., v. 76, 1853; Quar. Rev. v. 93, 1853; West. Rev. v. 60, 1853, and 67, 1857. Campbell's Ye Mariners of England. Ye Mariners of England, That guard our native seas; Whose flag has braved, a thousand years, The battle and the breeze! Your glorious standard launch again To match another foe! And sweep through the deep, While the stormy winds do blow; While the battle rages loud and long, And the stormy winds do blow. The spirits of your fathers Shall start from every wave! For the deck it was their field of fame, Where Blake and mighty Nelson fell, While the stormy winds do blow; Britannia needs no bulwark, No towers along the steep; Her march is o'er the mountain-waves, Her home is on the deep. With thunders from her native oak, She quells the floods below, As they roar on the shore, When the stormy winds do blow; When the battle rages loud and long, And the stormy winds do blow. The meteor flag of England Till danger's troubled night depart, To the fame of your name, When the storm has ceased to blow; When the fiery fight is heard no more, And the storm has ceased to blow. Campbell's Lord Ullin's Daughter. A chieftain, to the Highlands bound, cries, "Boatman, do not tarry! And I'll give thee a silver pound to row us o'er the ferry." "Now, who be ye would cross Lochgyle, this dark and stormy water?" "Oh, I'm the chief of Ulva's isle, and this, Lord Ullin's daughter; Out spoke the hardy Highland wight, "I'll go, my chief-I'm ready; But still, as wilder blew the wind, and as the night grew drearer, I'll meet the raging of the skies, but not an angry father." The boat has left a stormy land, a stormy sea before her, cover; One lovely hand she stretched for aid, and one was round her lover. "Come back! come back!" he cried in grief, across this stormy water, And I'll forgive your Highland chief, my daughter-O my daughter!" "Twas vain: the loud waves lashed the shore, return or aid preventing; The waters wild went o'er his child, and he was left lamenting. Moore's The Meeting of the Waters. There is not in the wide world a valley so sweet Yet it was not that nature had shed o'er the scene "Twas that friends, the beloved of my bosom, were near, Sweet vale of Avoca! how calm could I rest In thy bosom of shade, with the friends I love best! Where the storms that we feel in this cold world should cease, FURTHER READING.-Canto I. of The Lay of the Last Minstrel, selections from Canto VI. of Marmion and from Parts I. and II. of The Fire-Worshippers, and abridgment of Pleasures of Hope, in pamphlet, by Clark & Maynard. BYRON. LESSON 62. -"We turn to very different types of men when we come to Lord Byron, Shelley, and Keats. Childe Harold, cantos i. and ii., Byron's first true poem, appeared in 1812, Shelley's Queen Mab in 1813, Keats' first volume in 1817. Of the three, LORD BYRON had most of the quality we may call force. Born in 1788, his Hours of Idleness, a collection of short poems, in 1807, was mercilessly lashed in the Edinburgh Review. The attack only served to awaken his genius, and he replied with astonishing vigor in the satire of English Bards and Scotch Reviewers, in 1809. Eastern travel gave birth to the first two cantos of Childe Harold, to the Giaour and the Bride of Abydos in 1813, to the Corsair and Lara in 1814. The Siege of Corinth, Parisina, the Prisoner of Chil |