cult to see how any mortal ever could consider this Koran as a Book written in Heaven, too good for the Earth; as a well-written bock, or indeed as a book at all; and not a bewildered rhapsody; written, as far as writing goes, as badly as almost any book ever was! So much for national discrepancies, and the standard of

taste.

-H. II.

OF JOB.

THE BOOK OF

I

THEY had many Prophets, these Arabs; Teachers each to his tribe, each according to the light he had. But indeed, have we not from of old the noblest of proofs, still palpable to every one of us, of what devoutness and noblemindedness had dwelt in these rustic thoughtful peoples? Biblical critics seem agreed that our own Book of Job was written in that region of the world. call that, apart from all theories about it, one of the grandest things ever written with pen. One feels, indeed, as if it were not Hebrew; such a noble universality, different from noble patriotism or sectarianism, reigns in it. A noble Book; all men's Book! It is our first, oldest statement of the never-ending Problem,— man's destiny and God's ways with him here in this. earth. And all in such free flowing outlines; grand in its sincerity, in its simplicity; in its epic melody, and repose of reconcilement. There is the seeing eye, the mildly understanding heart. So true everyway; true eyesight and vision for all things; material things no less than spiritual: the Horse, hast thou clothed his neck with thunder?'—he 'laughs at the shaking of the spear! Such living likenesses were never since drawn. Sublime sorrow, sublime reconciliation; oldest choral melody as of the heart of mankind;-so soft, and great; as the summer midnight, as the world with its seas and stars. There is nothing written, I think, in the Bible or out of it, of equal literary merit. -H II.

THE DIVINE COMEDY.

I DO not agree with much modern criticism, in greatly preferring the Inferno to the two other parts of the Divine Commedia. Such preference belongs, I imagine, to our general Byronism of taste, and is like to be a transient feeling. The Purgatorio and Paradiso, especially the former, one would almost say, is even more excellent than it. It is a noble thing that Purgatorio, 'Mountain of Purification;' an emblem of the noblest conception of that age. If Sin is so fatal, and Hell is and must be so rigorous, awful, yet in Repentance too is man purified; Repentance is the grand Christian act. It is beautiful how Dante works it out. The tremolar dell' onde, that 'trembling' of the ocean waves, under the first pure gleam of morning, dawning afar on the wandering Two, is as the type of an altered mood. Hope has now dawned: never-dying Hope, if in company still with heavy sorrow. The obscure sojourn of dæmons and reprobate is underfoot; a soft breathing of penitence mounts higher and higher, to the Throne of Mercy itself. "Pray for me," the denizens of that Mount of Pain all say to him. "Tell my Giovanna to pray for me," my daughter Giovanna; "I think her mother loves me no more!" They toil painfully up by that winding step, 'bent down like corbels of a building,' some of them, crushed-together so 'for the sin of pride;' yet nevertheless in years, in ages and æons, they shall have reached the top, which is Heaven's gate, and by Mercy shall have been admitted in. The joy too of all, when one has prevailed; the whole Mountain shakes with joy, and a psalm of praise rises, when one soul has perfected repentance and got its sin and misery left behind! I call all this a noble embodiment of a true noble thought.

But indeed the Three compartments mutually support one another, are indispensable to one another. The Paradiso, a kind of inarticulate music to me, is the redeeming side of the Inferno; the Inferno without it

were untrue. All three make-up the true Unseen. World, as figured in the Christianity of the Middle Ages; a thing forever memorable, forever true in the essence of it, to all men. It was perhaps delineated in no human soul with such depth of veracity as in this of Dante's; a man sent to sing it, to keep it long memorable. Very notable with what brief simplicity he passes out of the every-day reality, into the Invisible one; and in the second or third stanza, we find ourselves in the World of Spirits; and dwell there, as among things palpable, indubitable! To Dante they were so; the real world, as it is called, and its facts, was but the threshold to an infinitely higher Fact of a World. bottom, the one was as preternatural as the other. not each man a soul? He will not only be a spirit, but is one. To the earnest Dante it is all one visible Fact; he believes it, sees it; is the Poet of it in virtue of that. Sincerity, I say again, is the saving merit, now as always.

-H. III.

BURNS'S POETRY.

At Has

INDEPENDENTLY of the essential gift of poetic feeling, a certain rugged sterling worth pervades whatever Burns has written: a virtue, as of green fields and mountain breezes, dwells in his poetry; it is redolent of natural life and hardy natural men. There is a decisive strength in him, and yet a sweet native gracefulness: he is tender, he is vehement, yet without constraint or too visible effort: he melts the heart, or inflames it, with a power which seems habitual and familiar to him. We see that in this man there was the gentleness, the trembling pity of a woman, with the deep earnestness, the force and passionate ardour of a hero. Tears lie in him, and consuming fire; as lightning lurks in the drops of the summer cloud. He has a resonance in his bosom for every note of human feeling; the high and the low, the sad, the ludicrous, the joyful, are welcome in their turn to his 'lightly moved and all conceiving spirit.'

And observe with what a fierce prompt force he grasps his subject, be it what it may! How he fixes, as it were, the full image of the matter in his eye; full and clear in every lineament; and catches the real type and essence of it, amid a thousand accidents and superficial circumstances, no one of which misleads him! Is it of reason; some truth to be discovered? No sophistry, no vain surface-logic detains him; quick, resolute, unerring, he pierces through into the marrow of the question; and speaks his verdict with an emphasis that cannot be forgotten. Is it of description; some visual object to be represented? No poet of any age or nation is more graphic than Burns: the characteristic features disclose themselves to him at a glance; three lines from his hand, and we have a likeness. And in that rough dialect, in that rude, often awkward metre, so clear and definite a likeness! It seems a draughtsman working with a burnt stick; and yet the burin of a Retzsch is not more expressive or exact. -M. Burns.

TAM O'SHANTER.

Of the tenderness, the playful pathos, and many other kindred qualities of Burns's Poetry, much more might be said * To speak of his individual writings; **

we can look on but few of these pieces as, in strict critical language, deserving the name of Poems: they are rhymed eloquence, rhymed pathos, rhymed sense; yet seldom essentially melodious, aerial, poetical. Tam o'Shanter itself, which enjoys so high a favour, does not appear to us, at all decisively, to come under this last category. It is not so much a poem, as a piece of sparkling rhetoric; the heart and body of the story still lies hard and dead. He has not gone back, much less carried us back, into that dark, earnest, wondering age, when the tradition was believed, and where it took its rise; he does not attempt, by any new-modelling of his supernatural ware, to strike anew that deep mysterious

chord of human nature, which once responded to such things; and which lives in us too, and will forever live, though silent now, or vibrating with far other notes, and to far different issues. Our German readers will understand us, when we say, that he is not the Tieck but the Musäus of this tale. Externally it is all green and living; yet look closer, it is no firm growth, but only ivy on a rock. The piece does not properly cohere: the strange chasm which yawns in our incredulous imaginations between the Ayr public-house and the gate of Tophet, is nowhere bridged over, nay the idea of such a bridge is laughed at; and thus the Tragedy of the adventure becomes a mere drunken phantasmagoria, or many-colored spectrum painted on ale-vapours, and the Farce alone has any reality. We do not say that Burns should have made much more of this tradition; we rather think that, for strictly poetical purposes, not much was to be made of it. Neither are we blind to the deep, varied, genial power displayed in what he has actually accomplished; but we find far more 'Shakspearean' qualities, as these of Tam o'Shanter have been fondly named, in many of his other pieces; nay, we incline to believe, that this latter might have been written, all but quite as well, by a man who, in place of genius, had only possessed talent. -M. Burns.

THE JOLLY BEGGARS.

PERHAPS we may venture to say, that the most strictly poetical of all his 'poems' is The Folly Beggars. The subject truly is among the lowest in Nature; but it only the more shows our Poet's gift in raising it into the domain of Art. To our minds, this piece seems thoroughly compacted; melted together, refined; and poured forth in one flood of true liquid harmony. It is light, airy, soft of movement; yet sharp and precise in its details; every face is a portrait: that raucle carlin, that wee Apollo that Son of Mars, are Scottish, yet ideal; the