and describes their employments in another world, which are to be, it seems, bathing in light, hearing fiery streams flow, and riding on living cars of lightning. The deathbed of the sceptic is described with what we suppose is meant for energy. We then have the deathbed of a Christian made as ridiculous as false imagery and false English can make it. But this is not enough. The Day of Judgment is to be described, and a roaring cataract of nonsense is poured forth upon this tremendous subject. Earth, we are told, is dashed into Eternity. Furnace blazes wheel round the horizon, and burst into bright wizard phantoms. Racing hurricanes unroll and whirl quivering fire-clouds. The white waves gallop. Shadowy worlds career around. The red and raging eye of Imagination is then forbidden to pry further. But further Mr. Robert Montgomery persists in prying. The stars bound through the airy roar. The unbosomed deep yawns on the ruin. The billows of Eternity then begin to advance. The world glares in fiery slumber. A car comes forward driven by living thunder.

"Creation shudders with sublime dismay,

And in a blazing tempest whirls away."

And this is fine poetry! This is what ranks its writer with the master-spirits of the age! This is what has been described, over and over again, in terms which would require some qualification if used respecting Paradise Lost! It is too much that this patchwork, made by stitching together old odds and ends of what, when new, was but tawdry frippery, is to be picked off the dung-hill on which it ought to rot, and to be held up to admiration as an inestimable specimen of art. And what must we think of a system by means of which verses like those which we have quoted, verses fit only for the poet's corner of the Morning Post, can produce emolument and fame? The circulation of this writer's poetry has been

greater than that of Southey's Roderick, and beyond all comparison greater than that of Carey's Dante or of the best works of Coleridge. Thus encouraged, Mr. Robert Montgomery has favoured the public with volume after volume. We have given so much space to the examination of his first and most popular performance that we have none to spare for his Universal Prayer, and his smaller poems, which, as the puffing journals tell us, would alone constitute a sufficient title to literary immortality. We shall pass at once to his last publication, entitled Satan.

This poem was ushered into the world with the usual roar of acclamation. But the thing was now past a joke. Pretensions so unfounded, so impudent, and so successful, had aroused a spirit of resistance. In several magazines and reviews, accordingly, Satan has been handled somewhat roughly, and the arts of the puffers have been exposed with good sense and spirit. We shall, therefore, be very concise.

Of the two poems we rather prefer that on the Omnipresence of the Deity, for the same reason which induced Sir Thomas More to rank one bad book above another. "Marry, this is somewhat. This is rhyme. But the other is neither rhyme nor reason." Satan is a long soliloquy, which the Devil pronounces in five or six thousand lines of bad blank verse, concerning geography, politics, newspapers, fashionable society, theatrical amusements, Sir Walter Scott's novels, Lord Byron's poetry, and Mr. Martin's pictures. The new designs for Milton have, as was natural, particularly attracted the attention of a personage who occupies so conspicuous a place in them. Mr. Martin must be pleased to learn that, whatever may be thought of those performances on earth, they give full satisfaction in Pandæmonium, and

that he is there thought to have hit off the likenesses of the various Thrones and Dominations very happily.

The motto to the poem of Satan is taken from the Book of Job: "Whence comest thou? From going to and fro in the earth, and walking up and down in it." And certainly Mr. Robert Montgomery has not failed to make his hero go to and fro, and walk up and down. With the exception, however, of this propensity to locomotion, Satan has not one Satanic quality. Mad Tom had told us that "the prince of darkness is a gentleman;" but we had yet to learn that he is a respectable and pious gentleman, whose principal fault is that he is something of a twaddle and far too liberal of his good advice. That happy change in his character which Origen anticipated, and of which Tillotson did not despair, seems to be rapidly taking place. Bad habits are not eradicated in a moment. It is not strange, therefore, that so old an offender should now and then relapse for a short time into wrong dispositions. But to give him his due, as the proverb recommends, we must say that he always returns, after two or three lines of impiety, to his preaching style. We would seriously advise Mr. Montgomery to omit or alter about a hundred lines in different parts of this large volume, and to republish it under the name of "Gabriel." The reflections of which it consists would come less absurdly, as far as there is a more and a less in extreme absurdity, from a good than from a bad angel.

We can afford room only for a single quotation. We give one taken at random, neither worse nor better, as far as we can perceive, than any other equal number of lines in the book. The Devil goes to the play, and moralises thereon as follows:

"Music and Pomp their mingling spirit shed
Around me; beauties in their cloud-like robes

Macaulay, Essays. 1.

19

Shine forth, a scenic paradise, it glares
Intoxication through the reeling sense
Of flush'd enjoyment. In the motley host
Three prime gradations may be rank'd: the first,
To mount upon the wings of Shakespeare's mind,
And win a flash of his Promethean thought,
To smile and weep, to shudder, and achieve
A round of passionate omnipotence,
Attend: the second, are a sensual tribe,
Convened to hear romantic harlots sing,
On forms to banquet a lascivious gaze,
While the bright perfidy of wanton eyes
Through brain and spirit darts delicious fire:
The last, a throng most pitiful! who seem,
With their corroded figures, rayless glance,
And death-like struggle of decaying age,
Like painted skeletons in charnel pomp
Set forth to satirize the human kind!

How fine a prospect for demoniac view!

'Creatures whose souls outbalance worlds awake!'
Methinks I hear a pitying angel cry."

Here we conclude. If our remarks give pain to Mr. Robert Montgomery, we are sorry for it. But, at whatever cost of pain to individuals, literature must be purified from this taint. And, to show that we are not actuated by any feeling of personal enmity towards him, we hereby give notice that, as soon as any book shall, by means of puffing, reach a second edition, our intention is to do unto the writer of it as we have done unto Mr. Robert Montgomery.

CIVIL DISABILITIES OF THE JEWS.

(JAN. 1831.)

Statement of the Civil Disabilities and Privations affecting Jews in England. 8vo. London: 1829.

THE distinguished member of the House of Commons who, towards the close of the late Parliament, brought forward a proposition for the relief of the Jews, has given notice of his intention to renew it. The force of reason, in the last session, carried the measure through one stage, in spite of the opposition of power. Reason and power are now on the same side; and we have little doubt that they will conjointly achieve a decisive victory. In order to contribute our share to the success of just principles, we propose to pass in review, as rapidly as possible, some of the arguments, or phrases claiming to be arguments, which have been employed to vindicate a system full of absurdity and injustice.

The constitution, it is said, is essentially Christian; and therefore to admit Jews to office is to destroy the constitution. Nor is the Jew injured by being excluded from political power. For no man has any right to power. A man has a right to his property; a man has a right to be protected from personal injury. These rights the law allows to the Jew; and with these rights it would be atrocious to interfere. But it is a mere matter of favour to admit any man to political power; and no man can justly complain that he is shut out from it.

We cannot but admire the ingenuity of this contrivance for shifting the burden of the proof from those to whom it