fire has been breathed into it, which cannot be quenched though its breath expire. Is it the fountain, or the temple, that breathes, and has fire breathed into it? Mr. Montgomery apostrophises the "Immortal beacons,—spirits of the just,”– 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, وو 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 dunghill 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 Cary'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 Of flush'd enjoyment. In the motley host 'Creatures whose souls out balance worlds awake!' 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. INDEX AND GLOSSARY OF ALLUSIONS ABSOLUTE, Sir Anthony, a leading char- A darker and fiercer spirit, Jonathan Agbarus or Abgarus, the alleged author of Alboin, King of the Lombards, 561-573; (d. 1764), 147 Alva, Duke of, the infamous governor of the faithless ruler of Arminius, a German who, as a hostage, Armorica, France between the Seine and his son, led the people of Flanders in Ascham, Roger, and Aylmer, John, tutors of Queen Elizabeth and Lady Jane Grey Athalie, Saul, Cinna, dramas by Racine, Alfieri, and Corneille respectively, 502 Attila, King of the Huns, the "Scourge of BADAJOZ and St. Sebastian, towns in Bastiani, was at first one of the big Pots- Bayes, Miss, with reference to the name Beauclerk, Topham, Johnson's friend, Beaumarchais, see Carlyle's French Revo Belle-Isle, French marshal; fought in the encouraged Macpherson to publish the Bolt Court, on the N. side of Fleet Street; Borodino, 70 miles west from Moscow, Boscan, a Spanish imitator of Petrarch; 77 Bourne, Vincent, an usher at Westminster School, mentioned early in the "Essay Brownrigg, Mrs., executed at Tyburn Bruhl, Count, the favourite of Augustus Bucer, Martin, a German reformer who 618 Capuchins, a branch of the monastic order Carlile, Richard, a disciple of Tom Paine's Casaubon, Isaac, Professor of Greek at Catinat, French marshal in charge of the 472 Cave, Edward, printer, editor, publisher, and proprietor of the Gentleman's Châtelet, Madame du, Voltaire's mistress, Chaulieu, Guillaume, a witty but negligent Chaumette, Pierre, a violent extremist in Child's, the clergy coffee-house in St. Paul's. St. James's (ib.), in the street of Chillingworth, William, an able English Churchill, Charles, a clergyman and satiri- Clootz, a French Revolutionary and one Coligni, Gaspard de, French admiral and |