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the second part, which is now going on in the Morning Herald, where the first draughts of the present numbers were originally published, we shall pursue our Commentary through the House of Peers; and in a third part, for which we are now preparing and arranging materials, it is our intention to present our readers with a series of anecdotes from the political history of our Ministry, which our author has artfully contrived to interweave in his inimitable poem.

And here, while we are closing this first Part, we cannot but congratulate ourselves, that we have been the humble instruments of first calling the attention of the learned to this wonderful effort of modern genius, the fame of which has already exceeded the limits of this island, and perhaps, may not be circumscribed by the present age; which, we have the best reason to believe, will very shortly diffuse the glory of our present Rulers in many and distant quarters of the globe; and which may not improbably descend to exhibit them in their true colours to remote posterity. That we indeed imagine our Criticisms to have contributed very much to this great popularity of the RoL

LIAD, we will not attempt to conceal. And this persuasion shall animate us to continue our endeavours with redoubled application, that we may complete, as early as possible, the design which we have some time since formed to ourselves, and which we have now submitted to the Public; happy, if that which is yet to come, be received with the same degree of favour as this, which is now finished, so peculiarly experienced even in its most imperfect condition.

END OF PART THE FIRST,

CRITICISMS

ON

THE ROLLIAD.

PART THE SECOND.

NUMBER I.

WE have now followed our admirable author through the Sixth Book of his poem, very much to our own edification, and, we flatter ourselves, no less to the satisfaction of our readers. We have shown the art with which he has introduced a description of the leading characters of our present House of Commons, by a contrivance something similar, indeed, to that employed by Virgil, but, at the same time, sufficiently unlike to substantiate his own claim to originality. And surely every candid critic will admit, that had he satisfied himself with the same device, in order to panegyrize his

favourites in the other House, he would have been perfectly blameless. But to the writer of the ROLLIAD, it was not sufficient to escape censure: he must extort our praise, and excite our admiration.

Our classical readers will recollect, that all Epic Heroes possess, in common with the poets who celebrate their actions, the gift of prophecy; with this difference, however, that poets prophesy while they are in sound health, whereas the hero never begins to talk about futurity, until he has received such a mortal wound in his lungs as would prevent any man, but a hero, from talking at all: and it is probably in allusion to this circumstance, that the power of divination is distinguished in North Britain by the name of SECOND SIGHT, as commencing when common vision ends. This faculty has been attributed to dying warriors, both by Homer and Virgil; but neither of these poets has made so good use of it as our author, who has introduced into the last dying speech of the Saxon Drummer, the whole birth, parentage, and education, life, character, and behaviour, of all those benefactors of their country, who at present

adorn the House of Peers, thereby conforming himself to modern usage, and at the same time distinguishing the victorious Rollo's prowess in subduing an adversary, who dies infinitely harder than either Turnus or Hector.

Without further comment, we shall now proceed to favour our readers with a few extracts. The first Peer mentioned by the Dying Drummer, is the present Marquis of Buckingham: his appearance is ushered in by an elegant panegyric on his father, Mr. George Grenville, of which we shall only give the concluding lines:

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George, in whose subtle brain, if Fame say true,
Full-fraught with wars, the fatal stamp-act grew;
Great financier ! stupendous calculator !—
But, George the son is twenty-one times greater!

It would require a volume, not only to point out all the merits of the last line, but even to do justice to that Pindaric spirit, that abrupt beauty, that graceful aberration from rigid grammatical contexts, which appears in the single word but. We had, however, a further intention in quoting this passage, viz. to assert our author's claim to

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