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the Pyrenees is included in 36 pages. The arrangements made by the great Wellington for the opening of the campaign, and the anxiety of his mind, are thus expressed:

"But not inactive was the soul,

That long had curb'd the Gaul's control,
And turn'd his utmost skill to nought,
By prompter and profounder thought,
In Spain's devoted clime;-

That bold and all-inspiring mind,
Like Heaven's own spirit, warm, refined,
Amidst each pressing danger great,
Look'd forward thro' the glooms of fate,
In confidence sublime,
Collecting all its various might,
To put the Boaster's hordes to flight,
And give, at last, to suffering Spain
A peaceful and a prosperous reign,
Releas'd from woe aud crime;
That mind its noblest air assum'd,
With Hope's predictions warm,
Survey'd the host where Freedom bloom'd,
And smil'd upon
the storm.-

And when the red unseemly star,
That glows on Evening's dusky car,
Rose o'er the southern convent's spires,
A thousand strong divine desires,
A thousand hopes and dreams sublime,
The birth of Spain's romantic clime,
Possess'd the Warrior's soul;
He wish'd the day of trial come,
He long'd to hear the martial drum,
Its charging numbers roll:-
And many a cymbal, trump, and fife,
Give grandeur to the mortal strife,
And check the hopes and fears of life,
And all the hideous views,
That Fancy, in her calmer hours,
Pourtrays in her sequester'd bowers,
In Terror's darkest hues."

pp. 3, 4.

In the first stanza quoted, the author has copied his own rhyme; clime and sublime being twice given. This might have been remedied in the second place—

A thousand hopes and dreams sublime
All crowding at this awful time,

Possess'd the Warrior's soul.

Mr. Gwilliam must be conscious that held and beheld (in the second stanza quoted) is No rhyme. A similar error occurs in the succeeding verse, when describing the gaiety of France during her sad condition.

The author pursues his theme with increasing animation,

particularly in the stanzas descriptive of the defeat of the French army under Joseph Bonaparte, and the success of the allies. The lines allusive to facts, are pointed out in notes subjoined to the work. In one of these notes, Mr. Gwilliam, no doubt anticipating the shafts of criticism, observes" that the elevated and obscure abodes of these worthies (the critics) do not allow them an actual observation of an army." The remark is just enough in London one often meets with profound military critics, who scarcely ever saw a battalion under arms except in Hyde Park or on Blackheath.

In the campaign of the Pyrenees, we meet with several interesting and poetical descriptions. The French army, under the new-appointed Marshal Soult, is thus represented:

"Great were the names that led the dread advance,
The boast of Valor, and the pride of France;

Tho' cautious, prompt;-tho' vaunting of their might,
Brave in success, and desperate in their flight;
Like the hyena, when by hounds pursued
Along some dark inextricable wood,

They face the danger that arrests their speed,
And, in the conflict, make their followers bleed.
Soult's favorite name the scowling band inspires,
Creates new hopes and warms their rash desires,
His pliant will participates their frauds,
His tongue their darkest butchery applauds;
They seem already to possess the plain,
And seize the fortunes of the new campaign;
Their daring aim beyond the EBRO lies,

And LUSIA's realm is hardly deem'd a prize!"

The progress of the campaign, which ends in the discomfiture of Soult, is described with such fidelity and animation, as must equally gratify the politician and the lover of poetry. The author's metre is in general melodious, but we must object to the second line of the following couplet :

"Spain, thou hast triumph'd, but to whom belong
Your warmest prayers and your sweetest song?"

As Spain is here addressed by the person, thou, the corresponding pronoun, thy, should have followed it. Prayer is a very inharmonious dissyllable, and if any other bard has ever used it as such, he is as much to blame as the author of "Rokeby," who makes real a monosyllable. This feeble line might have been thus rendered strong and metrical-

Thy warmest gratitude-thy sweetest song.

The next article by this author (The Exile of Elba) which remains for consideration, seems a supplement to these battles.

Though unforeseen circumstances occasioned the restoration of Napoleon (who is the subject of this poem) to the Gallic throne, yet his second downfal renders the theme still interesting; for though not the exile now of Elba, he has been again banished from Paris. Many of the lines in this short poem (for it does not exceed 18 pages) are applicable to subsequent events:

"The great are fallen! proud Ambition's day
Has reach'd its climax and has pass'd away.

Cursing the star that usher'd in his birth,
View the great hero prostrate on that earth
From whence the haughty temper of his mind
Has swept so many millions of mankind!
When Fortune smil'd, no pity warm'd his heart,
He lov'd not Nature-tor his God was Art-
Keen in each wicked purpose where his name→
His curs'd ambition-might extend its fame-
So prompt that nothing could impede his course,
Nothing but God's unconquerable force;
So active, that, had virtue warm'd his breast,
That man had made his fellow-creatures blest,
Had been the noblest ornament of God-
Walk'd in his ways and in his footsteps trod !"

Again

"France! thou art rescued from thy hideous thrall
In this proud Chieftain's memorable fall."

And again

Louis! the day is yours-to you alone,

And your descendants France decrees the throne."

Our author leaves his readers to exercise their judgment by filling up the following second line :

"Where is the man whom millions late obey'd,

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Notwithstanding his evident unwillingness to publish the name, the author should have given the initial letter, as a clue to it. We presume TALLEYRAND is the person alluded to. Some lines in this poem do not exceed mediocrity.

The subjoined Ode of Deliverance records the glorious events of the year 1814, with occasional compliments to the immortal Wellington. We are informed by the author that though written previously to Mr. Southey's "Carmen Triumphale," it was withheld from publication until the curiosity excited by the Laureat's undertaking had subsided. If ever reprinted, the author will see the necessity of revising this ode, and making alte

rations; for he has asserted that the Destroyer should "scourge the world no more;" but, unfortunately, the Destroyer lately left his "haunt of shame," to disturb the days of peace." Poets are not necessarily prophets.'

ART. XV. The Consistency of Human Operation with Divine Influence in Religion, a Sermon preached in the Parish Church of St. George the Martyr, Queen Square, and in the Chapel of the Asylum for Female Orphans, Lambeth. By the Rev. F. SMITH, A.M. Rector of Grendon, Warwickshire, and Vicar of Eardesley, Herefordshire. Rivington.

As an evidence of the co-operation of Divine Grace and Human Exertion the text is happily chosen: "Work out your own salvation with fear and trembling; for it is God which worketh in you, both to will and to do of his good pleasure." The author laments the discordance of sentiment which divides those who profess to embrace the same faith, and remarks that the present subject has given rise to too much eager controversy.

By one party it is contended that man, unassisted, can work out his own salvation. This doctrine (our author informs us) is taught in a work entitled "Religion without Cant," and by a clergyman of the established church, who, on these words of our Saviour" Joy shall be in Heaven over one sinner that repenteth, more than over ninety and nine just persons, which need no repentance," makes an observation to this effect, That there are some persons who, having sinned but little, are so righteous in themselves as to need no repentance. "Now," remarks Mr. Smith, " if these persons need no repentance, then they need no Saviour, and consequently no faith in a Saviour." But he who spoke of "the ninety and nine just persons who needed no repentance," is also he who had declared that "there is none good but one, that is God ;" and therefore he obviously could not mean that those persons had never been sinners. He could intend no more than to commend that reformation of life which had put upon a footing with men comparatively good, one in whom had existed an extraordinary degree of depravity. Many expressions in Holy Writ, the preacher adds, are figurative, agreeably to the ancient style of writing. We read that

A poet now-a-days is not bound to be a prophet,

"God loved Jacob and hated Esau," but the phraseology, hated Esau, only implies a comparative degree of love for Jacob; i. e. God loved Jacob more than he loved Esau. The same expression is used by our Saviour in a similar manner; "If any man come to me and hate not his father, and mother, and wife, and children, and brethren, and sisters, yea and his own life also, he cannot be my disciple." The meaning of this sentence is, If any man love his father, mother, &c. more than he loves me, he cannot be my disciple. Much disputation and infidelity have arisen from taking these and similar metaphors in a teral sense.

Another party contends, that the salvation of man is effected by an act of irresistible grace, thus rendering him wholly passive. Mr. Smith, who strongly recommends unanimity, by a judicious selection of passages from Holy Writ; "Be ye all of one mind," &c. declares that the words of St. Paul completely refute those opposite errors. And by other quotations from the . same source he shows, that though the nature of man is corrupted, and his moral power impaired by the fall of Adam, he still can be so restored by grace as to obey and serve God in newness of life. By arguments full of energy, he proves the consistency of human operation with divine influence; and earnestly enjoins all Christians to pray for the assistance of the Holy Spirit to animate and guide them.

ART. XVI. Sacred Sketches from Scripture History. By Mrs. HEN. ROLLS. London: Law and Whittaker, 1815, pp. 117.

IT is truly observed by Cowley, that "the books of the Bible are either the noblest poetry, or the best materials in the world for it." The narratives of the Old Testament are particularly well adapted to become the subjects of sacred verse, from the simple touches of pathos and tenderness with which they abound, as well as the peculiar venerableness which antiquity has shed over them. They are, therefore, eminently calculated to engage the attention of children, and to produce that early love of the revelation in which they are contained, which time will strengthen into affection, and instruction heighten into reverence. Every thing which twines round the heart of infancy is cherished with singular delight, and brooded over in

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